gameontology gameontologywikidb https://www.gameontology.com/index.php/Main_Page MediaWiki 1.25.2 first-letter Media Special Talk User User talk gameontology gameontology talk File File talk MediaWiki MediaWiki talk Template Template talk Help Help talk Category Category talk 0 8 8 2008-12-18T20:44:45Z Jp 0 17 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] A game that is 0-dimensional in the cardinality of its game play means that the player has no degrees of freedom to control the movement of game entities. Initially, the idea is rather confusing since it bears asking what it is a player does? Clearly, the player must be able to do something, and it must be in some way related to whatever feedback and information he is receiving from the game. In practical terms, games that exhibit this cardinality are usually those in which the player does not control movement on the screen and must time key presses to actions that are happening. Pressing a button at the right moment implies success while not doing so means failure. ==Examples== ===Strong Examples=== ====Dance Dance Revolution==== In Dance Dance Revolution, the player must time keypresses to coincide with the overlapping of fixed arrows at the top of the screen with arrows that move steadily upwards from the bottom of the screen. The player cannot perform any movements nor modify the steady stream of arrows that ascends. Which arrows, and the speed at which they ascend is dependent on the music that is being played. ====Guitar Hero==== There is no avatar that the player controls in Guitar Hero [RedOctane, 2005]. The game resolves solely around pushing the right buttons using a guitar-shaped controller. There gameworld and avatars exists purely for cosmetic purpose and play no role in gameplay. ===Weak Examples=== ====Vib-Ribbon==== In Vib-Ribbon, the player must carefully time keypresses so that a rabbit-like character does not get tripped up by distortions that move towards him. If the appropriate keypress is not timed correctly, the rabbit takes a hit and could possibly lose a life. The keypress that is required is dependent on the type of distortion that is approaching the rabbit. Player does not control de movement nor the speed of movement that the rabbit makes. This is considered a weak example because when the player presses a key, the rabbit jumps. In this sense, the player is controlling the movement of the rabbit along 1 dimension (up-down). However, the player cannot control the height of the jump or anything else related to it, thus the jump is serves more as a presentation tool rather than an actually degree of freedom regarding movement. ====Gitaroo Man==== In Gitaroo Man the player presses buttons either by following a line with the analog stick and pressing a button in sync with marked parts of the line or pressing particular face buttons when they come flying into the centre of the screen from four directions. During the first set the onscreen character will play his guitar to send lasers at his opponent, and during the second he will dodge the lasers sent back at him. How well he fires lasers/dodges depends on how well-timed the button-presses are, thus making this a weak example. However, the power of the lasers nor the kind of dodging can be controlled by the player, just if it happens or not. Like Vib-Ribbon, then, the action is more of a way to show how well you did rather than giving you control over the hero. ---- ==Parent== *[[Cardinality of Gameplay]] ---- ==Children== None 209b38d969c7e76925aea0065eb6b3f2d04ab5f3 0 9 9 2008-12-18T20:44:45Z Jp 0 4 revision(s) wikitext text/x-wiki {{outofdate}} [[Category:Ontology]][[Category:Rules]] Games that have a cardinality of gameplay that is 1D restrict movement to only one axis. This means that movement can only be controlled in one direction and the exact opposite of the direction. For example, up/down or left/right. ====Strong Example==== ''Frequency'' The player's ship is only controlled by moving left and right. While other buttons, L1, L2, R1, are used to control which notes are played when, they do not add an addition dimension to the gameplay because they do not change the orientation of the players avatar in the world. ''Pong'' In Pong, the player controls a raquet that moves vertically on the across the side of the screen. The object of the game is to position the raquet so that the ball hits it. ''Space Invaders'' In Space Invaders, the player controls a ship that can move from left to right across the bottom of the screen. The objective is to fire at the enemy invaders that are slowly moving downwards. ---- ====Parent==== *[[Cardinality of Gameplay]] ---- ====Children==== None e1538b9b5c220a7d66d0bc975e31a33a04a8bf80 0 10 10 2008-12-18T20:44:45Z Jp 0 4 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] We are unaware of any games whose game world is 1-D. Theoretically, this would be possible (at least as a simulated representation). It is debatable however, whether this would be interesting or not as a game. It is included for the sake of completeness. See also [[Cardinality of Gameplay]] ---- ====Parent==== *[[Cardinality Of Gameworld]] ---- ====Children==== None 31ccd52efae3de6b0ab08b3448ca331326c57876 0 11 11 2008-12-18T20:44:46Z Jp 0 13 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] Games that have 2-dimensional gameplay cardinality allow the player to move entities along two orthogonal axis. Movement does not necessarily have to be along both axis simultaneously (as in, diagonal movement does not necessarily have to be possible). Typically, 2-D movement is left/right and up/down ===Strong Examples=== ====Age of Empires==== Age of Empires is a strong example of a 2D game. Although the game appears at first glance to be 3D, the game is relatively simple and uses basic sprites, which can only move along a plane, as opposed to anywhere in space. ====Pac-Man==== In Pac-Man, the player controls a character that must navigate a 2-dimensional maze. The player can only move up/down or left/right at a time. ====Tetris==== In Tetris, the player controls the left/right movement of a falling block. In addition to moving the block from left to right, the player can increase the speed at which it falls by pressing down. The player cannot make the block move up. ====Jets 'N' Guns==== This side-scrolling shooter (like most others) allows up/down and left/right movement, but there is no third dimension with which to work. ====Kirby==== The player has the option of moving up, down, left, or right at any given time. These are the only movements the player is allowed to make in this platform game, so it is a good example of 2-D gameplay. ====Knights of the Old Republic==== Knights of the Old Republic is rendered in 3d, but the game engine is based on Dungeons and Dragons, and has completely 2-dimensional gameplay. ====Viewtiful Joe==== The player moves up, down, and sideways through a two dimensional plane. This game is a "side-scrolling" game and therefore 2-D. This is despite the fact that the gameworld is sometimes rendered in pseudo-3D and that the camera often moves in 3-dimensions when it follows Joe into certain areas. ====Mega Man==== As a side-scrolling platformer, the Mega Man series allows the player to only move backwards and forwards or up and down. Based on these movement options, the Mega Man series illustrates 2-D gameplay. ====Escape Velocity: Nova==== They player navigates their spaceship from a topdown perspective of the solar system. They can move in 360° by using the left and right keys to rotate the ship and the up key to accelerate forward. ===Weak Examples=== ==Parent== *[[Cardinality of Gameplay]] ---- ==Children== None 75244ea3dbe6683e812b4cfe1a01c4ab91abef67 0 12 12 2009-08-19T22:08:48Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] 2-Dimensional game worlds, as the name implies, are spaces that have 2 degrees of freedom. Without getting into any of the specific mathematics, we can think of them as spaces that have length and width (or width and height) but lack depth. Most older video games have 2-dimensional game worlds. A few examples of these include Pac-Man, Tetris and Asteroids. See also [[Cardinality of Gameplay]] ---- ====Parent==== *[[Cardinality Of Gameworld]] ---- ====Children==== None fd179fec3db8cb9d864b00c6e73b3f6f942efe9e 0 13 13 2009-03-03T17:10:13Z Jp 0 Reorganized some of the text, added subsection addressing lightgun games. wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] ==Definition== 3-dimensional gameplay means that the player can control the movement of game entities along 3 orthogonal axis. Usually, this means left/right, up/down and forwards/backwards. Movement does not necessarily have to be allowed along more than one axis simultaneously. In certain cases, launching projectiles (i.e. shooting) could be considered within the scope of controlling the movement of game entities (by determining the initial direction). It is also important to note that due to the obvious restrictions of flat (2-dimensional) displays, what the player sees on screen is a 2-dimensional representation of a 3-dimensional gameworld. However, it is important to distinguish between the cardinality of the gameworld (see [[3-Dimensional Gameworld]]) and that of the gameplay (described here). In particular, the quality of a game's graphics or how they are displayed on the screen has nothing to do with the dimensionality of its gameplay. For that matter, the quality of its gameplay has very little to do with its dimensionality. Games with 3D graphics but 2-dimensional gameplay (i.e. the player can only move and act/shoot in 2 dimensions), such as ''Ikaruga'' or ''Street Fighter 4'', are ''not examples of 3D gameplay''. By contrast, games with 2D graphics but which enable movement or action in 3 dimensions, such as ''X-Com'' or ''Wing Commander'', are examples of 3D gameplay. Nowadays, most games allow for 3-dimensional gameplay. For instance, most ''first-person shooters'' and ''third-person platform games'' require that the player successfully navigate 3-dimensional environments. Players control characters that can move in any direction on the ground in addition to jumping. Even games that do not allow for jumping often incorporate a 3rd dimension in their gameplay when they allow for the player to throw or launch some projectiles in a non-horizontal direction, with an attendant game effect (e.g. the ability to strike a flying target). Alternately, thrown projectiles can be thrown in order that they bounce or ricochet off surfaces in order to reach otherwise inaccessible locations. ===First Person Shooters=== These distinctions are perhaps best illustrated by looking at 3 successive first-person shooters. ''Wolfenstein 3D'' is an early first-person shooter whose visual presentation was arguably 3D. However, its [[Cardinality of Gameplay| cardinality of gameplay]] is [[2-Dimensional Gameplay| 2-dimensional]. The player can control a character that move anywhere on a 2D plane (the floor) but there is no way to jump or change height. For all intents and purposes, all of the game entities are situated at the exact same height. This was not the case in ''Doom'' where enemies were located at different heights and the architecture of the gameworld included stairs and ledges. However, the player isn't able to aim up/down; the projectiles simply adjust their height when aimed at an enemy who is not on the same horizontal plane as the player character. ''Quake'', on the other hand, allowed for full 3D gameplay allowing the player to move and aim in 3D. In particular, ''Quake'' allowed the player to use a grenade launcher whose ammunition (grenades) behaved in a reasonably realistic manner, allowing the player to bounce them off surfaces. In this way, for example, enemies that were around a corner could be killed. ===Lightgun Games=== In principle, most lightgun games have [[2-Dimensional Gameplay|2D gameplay]] since the player is essentially sweeping a reticule over a flat surface. Even though most modern lightgun games feature 3D gameworlds, the player is usually not able to control movement of the camera and shots fired at targets in the game do not take into consideration the depth (ie, how far away they are from the camera) in any meaningful way. ==Examples== Please explain exactly how 3-D is used in the gameplay. General descriptions of the game should be kept as concise and objective as possible. Please see the Starfox example below. === Strong Examples === ====Super Mario 64==== Super Mario 64 allows the player to control a character in three dimensions (when jumping). The action of jumping is necessary to navigate certain obstacles which cannot be navigated via 2D movement. The camera is also movable so that the player can always have Mario in the position that he wants. The player can also jump, swim, and even slide across the surfaces of the environment. Mario's full motion in the game is what makes this game a strong example of 3-dimensional gameplay. ====Halo (series)==== The Halo series of games follows standard 3D shooter genre conventions, in which the player-character cannot move freely in the vertical direction but can jump, crouch, and shoot in any direction. In addition, the player can control flying vehicles which move freely in all 3 dimensions. ====Marathon Infinity==== In Marathon, the player can move in two horizontal dimensions and jump or aim in three dimensions, even though the character and object graphics are sprite-based 2D graphics. Certain levels feature altered gravity which affects the vertical movement (via jumping) of the player. ====Gears of War==== In Gears of War for the XBox 360, there is a 3D gameworld, but the player is generally restricted to 2D movements. There is no jump button, so the player is not allowed to freely move up/down; instead there is a dive button which allows the player to jump over certain game objects. However, the player can shoot in directions that are not horizontal, in order (for instance) to attack targets at different elevations. ====Rainbow Six: Vegas==== In Rainbow Six: Vegas, the player have most of controls in 3D maps. However, there is limit of controls in 3D game and that is a jump control. Player is only allowed to move on the ground. Although player may have an action key to use a fast-rope to move to lower level or climb ladders to move to above level, player is not allowed to jumb in the game. However, the player can launch projectiles in directions that are not horizontal. ====Wing Commander==== Wing Commander is a game where the player pilots a spacecraft to attack enemy spacecraft. Although all the objects in the game are represented as 2D sprites, the game takes place in a 3D environment from a first-person view, and any object in the game is capable of moving in all 3 dimensions. ====X-Com==== X-Com features a mode of play wherein the player controls a squad of soldiers in turn-based combat. Although the game environment is represented by 2D graphics using an isometric point of view, it is in fact a full 3D environment with different elevation levels and a crude simulation of gravity (destroying the floor on which an object is standing will cause it to fall down). In the later stages of the game, the player can acquire soldiers and vehicles with the ability to fly (i.e. freely change their elevation); this has a strong effect on the game strategy. ====Counter-Strike: Source==== In Counter Strike: Source, it is a simulation of counter terrorist versus terrorist. You can move around in any direction of the game. It can be played through PC or the XBox. In this game, yu have the ability to buy weapons, and work as a team with others to wipe out the opposing team. The rendering in Counter Strike: Source is better than the original Counter Strike because the weapons are more realistic and so are the players. That is why Counter Strike: Source is such a strong game. ====Zelda:Ocarina of Time==== Zelda: Ocarina of Time is a prime example of three dimensional game. Not only does it look really amazing, it also allows the player to move more freely, with a great map cardinality. It enhances the gaming experience 10 fold. In this game you are allowed to move in all direction in a 3 dimensional plain. There are camera angles to further emphasize the 3d feature. Characters look more life like as well as objects seen in the game. ====Oblivion==== Not only the character movement is three dimensional in this game, allowing for game cardinality for any direction, but also the terrain itself acts as an integral and important part within the larger concept of a three dimensional playing field. Mountains, valleys and swim-able rivers are all set within a three dimensional world containing both perspective (vanishing point oriented to players sight), and sprite and terrain shading (oriented to actual light source). These specific naturalistic examples of three dimensional properties enables the game Oblivion to be both successful at providing the necessary immersion of the 3d cardinality and also allow the game to be an extremely strong example of 3 dimensional gameplay overall. ====Dark Messiah==== Dark Messiah features a fully 3D environment littered with detailed landscapes, destructible terrain, and thoughtfully placed landmarks and obstacles. Utilizing a strong game physics engine, a modified Source engine, Dark Messiah offers a whole new degree of versatility in game play. ====Final Fantasy XI==== In Final Fantasy XI a player can move around in any direction of the game. They can explore anything from underground caves, to sandy beaches, to snowy mountains. Most of all players can ride chocobos which can go in any direction just like the player. The availability of how many ways players can maneuver across Vana'diel is what makes Final Fantasy XI a strong example of 3-D gameplay. ====NBA 2K series==== The basketball simulation series allows players controlling the ball handler to move anywhere on the court. The ball handler can pass, dunk, steal, block, etc in any specified direction. There are multiple camera angles which can be rotated from behind or on the side of the players to enhance the 3-D aspect of the game. === Weak Examples === ====Paper Mario: Thousand Year Door==== In paper mario there is 3D rendering and obviously 3D graphics but the character tends to stay on a 2D plane. Mario can go through warp pipes to change his z-level but the movement is up/down left/right once through the pipe. Though you can obviously see the difference between z-planes and thus avoid objects by changing the third dimension. 2D gameplay through most of the game but 3D in parts. ====Starfox Super Nintendo==== The game takes place in a moving 3D environment. Within narrow constraints, the player can move up, down, left, and right, as well as change speed. However, the ability to turn and completely change direction does not exist. Gameplay takes place on a set course and your cardinality of movement is limited within that course. ====Resident Evil 4==== The game world is fully 3D but the player is limited by human constraints: he can only move up or down if there is something like a ladder or rope to climb up, and down only if there is something to climb down or jump down from. Most of the time the player is moving in 2 dimensions along the ground. ====The Sims 2==== While the gameworld is 3D, and the player may move the camera in 3 dimensional directions, the player can only more the characters themselves around a 2D plane. ====The House of the Dead==== The House of the Dead seems to have 3D game play since it is made with 3D graphics. However, The House of the Dead is just a clicking game. Player is only allowed to shoot. Instead of player controlling to move around the map, the camera automatically moves the player. Since the player is limited to shoot the target, this game is a weak exammple for 3D gameplay. ====Myst==== The game is modeled and rendered in 3D. Clicking on different parts of the screen change the direction in which you are looking or moves you to a different spot. This can be considered three dimensional movement or a web of two dimensional areas. ====Valkyrie Profile: Lenneth==== In this game, while on the world map, the character can move up and down, and change their altitude, giving them 3 dimensions of movement. However, this is just on the world map, as the entire rest of the game (aside from the battles) is only capable of movement in 2 dimensions. ====Skies of Arcadia==== The game allows the player to move Vyse around in a 3-dimensional environment, yet limits your ability to move up and down on the vertical axis (unless you are climbing a rope or walking up an incline). There is no jump button in the game so you are really unable to move in full 3-dimensions. ====Rayforce==== Rayforce is, in many respects, a 2D scrolling shooter. However, the enemies in the game are capable of movement in 3 dimensions. The reason why it is not a pure 2D game is that certain weapons can be used to attack targets which are at a different level from the player-avatar. ---- ==Parent== *[[Cardinality of Gameplay]] ---- ==Children== None fbcc8aa8842995f5cb1140594fc0d25d5cdbd82e 0 14 14 2009-03-03T16:41:59Z Jp 0 /* World of Craft= */ wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] 3-Dimensional game worlds share the same characteristics as "the real world" we all inhabit. Simply put, objects in this world have length, width and height. Of course, since most games present visual information on a 2-dimensional surface (like a TV screen), this does not mean that the viewer actually sees something in 3-dimensions but that he is led to believe that what he is seeing has three dimensions. This is principally a matter of presentation in those cases where the player may be limited to performing actions in only 2-dimensions. See also [[Cardinality of Gameplay]]. Early examples of games that have 3-dimensional game worlds include Battlezone, Wizardry and Star Wars. ==Examples== ===Strong Examples=== ===World of Craft=== A strong example of a 3-Dimensional game is World of Warcraft. World of Warcraft takes place in a 3-rendered environment modeled using 3-d graphics. ==Parent== *[[Cardinality Of Gameworld]] ---- ==Children== None 26199f34cecf5e3ee660c9599468f40461511223 0 15 15 2009-08-19T22:14:38Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Goals]] Agents are game entities with intentional behavior. They have goals which they are trying to accomplish. Accomplishing a goal may bring the agent closer to a game goal, or they can be the highest level of goal the agent can pursue. For example, an AI-controlled army in an RTS is in pursuit of a game goal only accomplished when all enemy buildings are destroyed. To serve this game goal, the agent will have to make the proper decisions of when to attack and when to defend. These decisions are based on smaller goals of attacking the enemy and preserving its army. Agents determine their goals based on the current state of the game. This may be a state which is local to the agent. For example, in a given FPS, the AI-controlled agents may be patrolling an area. During this time, their only goal is to move from point to point, maintaining awareness of their surroundings. If the player-controlled agent it perceived by the AI-controlled agent, the AI-controlled agent may have a new goal of killing the player-controlled agent. However, if the player-controlled agent is never perceived, the AI-controlled agent may not alter his goals not matter what else is happening in the game. Agents can also determine goals based on the complete state of the game. For example, in strategy games, the AI-controlled agent has to determine its goals based on its current resources available, as well as how powerful its country/army is compared to enemy countries/armies. Of course, this is also dependent on the amount of information that is available to the AI-controlled agent, but its current goals are based on the analysis of all information available. Simple entity manipulation is often performed in pursuit of agent goals to create more complex entity manipulation. For example, the simple entity manipulation of moving performed in pursuit of the agent goal of survival is the more complex entity manipulation of evasion. ---- ==Examples== ===Strong Examples=== ====Tom Clancy's Rainbow Six Vegas==== In Tom Clancy's Rainbow Six Vegas, enemy soldiers will pursue several goals depending on the situation. Characters have general patterns of patrol. If they see your character in the open they will begin to fire and yell for help, often times they will take cover trying to preserve their own lives. Their goal may be to maneuver to better locations, try to flank you or throw grenades at your location. In some situations they may choose to kill a hostage in order to sabotage your mission, instead of engaging in a firefight. ====The Sims 2==== In The Sims 2, based on certain parameters, each Sim has certain goals it needs to meet. ====Mortal Kombat 3==== In Mortal Kombat 3 for SNES, the player must defeat an enemy agent. The opponents' goal is the opposite: defeat the player using a variety of fighting moves and specials actions. ==Parent== *[[Goals]] ---- ==Children== None 60fc5f6be8c8f994b607bc2c32a08cd93a1d6ec0 0 16 16 2008-12-18T20:45:03Z Jp 0 2 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Analog pushbuttons work similarly to digital buttons, except that they evaluate the pressure with which the button is pressed within a bounded range. This range may be small (0-4) or large (0-255). It is often difficult to determine from a player perspective how large or small a range of values is provided. Strong example The joypads on Sony's PlayStation 2 feature pressure sensitive buttons that pass information on to the game regarding the pressure with which a button has been pressed. ---- ====Parent==== *[[Input Devices]] ---- ====Children==== None 455bc8188d2fb5649685011b03f8772416988bfa 0 17 17 2008-12-18T20:45:03Z Jp 0 2 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Audio display hardware encompasses any device used to communicate aural output from the game to players. This can consist of any number of speakers in a variety of arrangements, from a single speaker to multi-speaker surround sound setups. As the audio hardware available to players can vary, many games try to allow for a variety of audio device arrangements, using sophisticated speaker arrangements if available, but not requiring advanced speaker arrangements for proper gameplay. ---- ====Parent==== *[[Presentation Hardware]] ---- ====Children==== None cacd6ed58842d9242ee35a515d51b9ca2bf8284d 0 18 18 2008-12-18T20:45:03Z Jp 0 2 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Aural output varies over its constituent "wavelengths" For example, many games make use of background music that helps set the mood of a game, but changes very little in response to the game state, other games (such as Halo [Howard, 2001]) use background music to more dynamically reflect the game state. In their use of sound effects, many games follow the same pattern of creating a sound field that mirrors the visual representation of the game world. There are also games available that focus on presenting the game state to the player exclusively through sound. An example of such games is Demor [Hulskamp and Dekker, 2004], a location-based 3D audiogame that places players in a three dimensional first person shooter where they must rely on their ears to guide them. Players perceive the game through a stereo headset and use that information to guide their walking and firing. ---- ====Parent==== *[[Sensory Output]] ---- ====Children==== None ---- ====References==== Howard, J. (2001). Halo: Combat Evolved. Microsoft, xbox edition. Hulskamp, A. and Dekker, J. (2004). Demor. Utrecht School of the Arts, location based edition. 4eeae2005065d94a48242da68bf78141c3e2c7ca 0 4 4 2008-12-18T20:45:03Z Jp 0 18 revision(s) wikitext text/x-wiki ==Out of Date== {{outofdate}} If you see an ontology entry with this, then someone is indicating that this entry is out of date. This is most likely because some of the concepts or ideas have been developed further in an article. Check the [[Main Page]] page for the articles listed. If you wish to add this template to a particular entry, then all you have to do is add the following to the page: ''<nowiki>{{outofdate}}</nowiki>'' ---- ==Proposed Entry== {{proposal}} This ontology entry is currently being proposed to become a part of the ontology. This is also usually the case when a draft is being worked on. If you wish to add this template to a particular entry, then all you have to do is add the following to the page: ''<nowiki>{{proposal}}</nowiki> Also, note that proposed entries should also belong to the category "Proposal". This can be done by adding the following to the proposed entry: <nowiki>[[Category: Proposal]]</nowiki> 178764fd2bb51f679c8bb58ac8cb769504b021c3 0 19 19 2008-12-18T20:45:04Z Jp 0 21 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] ==Definition== ;A section of gameplay (normally a level) where the player can earn rewards without risking to losing the game.: Of all the forms of challenge segmentation we have explored, the bonus stage is perhaps the most unusual. Strictly speaking, the purpose of a bonus stage is to present the player with an opportunity to earn rewards without the risk of losing the game. While the use of in-game resources in bonus stages differs from game to game, the uniting factor is that the player is momentarily liberated from the potential of losing. Thus the challenge perceived by the player changes drastically, becoming a sort of anti-challenge: you can’t lose the game while playing a bonus stage. This is not contradictory with the fact that bonus stages are usually quite challenging to those players who want to score maximum points. A bonus stage is different from a period of invulnerability within a normal part of a game. Each of the mazes in Pac-Man has four power-pills that must be consumed. Whenever Pac-Man “eats” a power-pill, a reversal occurs—for a limited time, the player can defeat the ghosts. If he catches them before the effect wears out, he scores extra points. However, the objectives of the game remain the same. The player is still in the same maze, under the same victory conditions: eat all the pellets. There is no sense of reward because eating the power pills is a requirement that cannot be ignored. Answering yes to some of the questions below that can help determine the extent to which a stage is a Bonus Stage: *Is the player character invulnerable (i.e. you can’t lose a life) in the stage? *Scoring points is the main aim of the stage? *Are the enemies absent from the stage? *Are the conditions to complete the bonus stage different from those of other stages? E.g. the stage will end prematurely if the time limit expires, or if you pick up a certain ‘forbidden’ object. *Is there a special reward if you complete the stage? ==Examples== ===Strong Examples=== ====Street Fighter II Series==== Three bonus stages make appearances in this series, with the exception of Super Street Fighter II Turbo: Grand Master Challenge. In the first bonus stage, the player is challenged to destroy a car with any attacks of their choosing. In the second, the player is given a similar challenge, but to destroy a pyramid of bricks. The challenges in these two stages are a matter of positioning and knowing which attacks to use to maximize damage in the limited time period. The third and final bonus stage challenges the player to destroy a wave of twenty barrels that drop from the middle of the ceiling, alternating in the left and right directions. Again, positioning and knowledge of the most efficient attacks is tantamount, though they are arguably more important here. Additionally, timing is also of importance in this stage, because each barrel will roll off the screen if the player does not attack in time. Points are cumulatively added to the player’s total upon partial or complete success in all of these bonus stages. ====Donkey Kong Country==== In Donkey Kong Country there are optional bonus stages or areas hidden within the normal stages or levels of play. In these areas the player attempts to collect points (i.e. bananas), gain more lives, or to obtain other beneficial aspects to the game (e.g. Diddy Kong or any of the animals that the player can ride). Also during these bonus stages the player can not lose lives (implying that the player cannot lose the game during the bonus stages) but instead they are forced to leave the bonus stage prematurely and to return to the normal stage of play. ====Mappy==== The regular levels of Mappy consist of a side-view of a multi-storied house with doors, scattered with stolen items – such as computers, tv sets and safes –. To go from one floor to another, there are trampolines that change color whenever it is bounced upon; if a trampoline is bounced on three consecutive times, it breaks. The level is complete after the player picks up all the stolen items. Levels 3, 7, 11 and 15 are bonus stages, which have a different layout from the regular levels. There are neither enemies nor floors, only trampolines. The objective of the stage is also different, the player has to clear all the balloons. If the player fails to pick all the balloons before the music stops playing or if he falls through a trampoline off-screen, he resumes play on the next level with no lives lost. At the end of each bonus stage is a special balloon with a picture of the boss of the game, which alone is worth 2,000 pts. on top of the point-value of all the other balloons in the level, and the “perfect” bonus award. ====Mario Party==== This game has the most bonus stages I have never seen. It is like a board game, you play against other people. When you land on a special place or pass by a special pass, usually there is a bonus stage for you. After each around, there will be a bonus stage. There are a lot a lot different bonus stages in this game. That is why this game if so fun. Nobody like to play some board game when all you can do is just to roll the dice and move right? The fun part is bonus stages. ====Sonic 3D Blast==== There are two characters that will give access to bonus stages to Sonic—Tails and Knuckles. If Sonic gives them 50 rings in total, they will open a bonus stage where Sonic can get a Chaos Emerald. In the bonus stages, Sonic runs over a bridge collecting rings, and avoiding mines. Hitting a mine will not kill Sonic, but he’ll lose some of his rings. The bridge is divided in three segments—in the first you have to collect 50 rings. If you succeed, you’ll continue to the next segment, where you have to get 100 rings, then the last segment you have to collect 150 rings. Once you complete this bonus stage, Sonic gets a Chaos Emerald. Collecting all Chaos Emeralds unlocks the stage select of the game, or gives you an extra life if all emeralds have been collected. ====Sonic the Hedgehog==== Given the condition that Sonic has 50 rings or higher at the end of each stage, the player is eligible to enter the bonus stage at their own desire. During the bonus stage, their goal is slightly different. Rather than navigating through a level sideways, they fall through a rotating-maze of sorts to reach an emerald. The bonus stage ends when either Sonic touches the emerald or touches a void spot, the former resulting in gaining one of the eight emeralds required to turn into Super Sonic, the latter simply ending the bonus stage prematurely with no emerald gained. There is nothing to lose in the bonus stage, only things to gain, which makes Sonic a good example of use of the "bonus stage" rule. ====Super Monkey Ball Banana Blitz==== Game play in this game is broken in to 3 segments: challenge stages, bonus stages, and boss stages. The bonus stages in this game appear after a player completes a specific challenge stage. There is also another type of bonus stage that is awarded to the player for completing a game world, which is used to also facilitate the display of the game credits. For example there are 10 game worlds with 8 challenge stages, 2 regular bonus stages, one boss stage, and one subsequent bonus stage after completion of the game world, which is used to display the credits screen. Each regular bonus stage varies with challenge throughout the game; while the final bonus stage for each game world is the same. All bonus stages have the same objective: guide your monkey so that he or she may collect as many bananas as possible within the allotted time frame. ====Yoshi's Island==== In Super Mario World 2 : Yoshi's Island you have the chance to enter one bonus stage at the end of each level, which rotates between different games, but these extra levels have no negative effect or rick losing the game. These levels are generally mini games in which you can win lives or items that you can use and may help you at sometime in the game future if you choose to use them. The probabilty you will play one of these levels is based on how many of the 5 flowers you find in the level - these are then involved in a rolluette wheel of the stage end hoop you jump through. Once you jump through, the hoop spins , and may or may not land on a flower you've have found, a flower not found, or a blank space. There are more blank spaces then flower spaces, and if the wheel lands on a flower you did not find then you do not play a bonus level. In general it is a good idea to find all flowers and increase your chances of playing these bonus leves. ====Mortal Kombat==== Mortal Kombat is a strong example of bonus stages. During your quest to beat everyone, you are given different things to break that each have harder degrees of thickness, wood, steel, ruby, diamond...also if you fight an opponent on the bridge, beat him twice flawlessly, and do a finishing move, you are given the chance to fight reptile, a "secret character" that jumps in and out of the game, giving you advice about how to find him ===Weak Examples=== ====Fallout II==== This game is a weak example for bonus stages, since there are really no levels in this game. Being a RPG, the game follows the main character in one seamless world. It is possible to change setting by traveling across the game map to another town, or various location. However, there is no point where, if the player does well enough, he/she can access a special level to give them more points. Fallout II follows the quest, or mission, formula. You can choose "bonus" quests, which are more traditionally called "side quests", but these sometimes lead to very little gain. For this game specifically, the side quests are more for humor value, and they lead to no extra points or abilities. ====Super Mario Bros. 2: Lost Levels==== In Super Mario Bros. 2's bonus stages (ie, coin rooms, warp pipe rooms) the player can receive negative effects. Either by means of enemies being placed in between rewards or by deception. The deception comes in from of the warp pipe rooms. Before like in level 1-2 of SMB. 1 the warp pipes would send a player forward. In SMB: Lost Levels the player can actually be sent back a level or entire worlds. The difficulty boosted because of these elements makes the bonus rooms questionable by definition. Now the bonuses have become challenges within themselves. ====Rally-X==== Rally-X has been acknowledged as the first game with a “bonus round” (Sellers; DeMaria and Wilson). Starting with the 3rd level and every 4 levels after that, the player gets to play a special level in which the enemy cars are motionless until the player runs out of fuel. However, the player can still lose lives by crashing into rocks or the motionless cars (Schultz "Rally-X (Arcade) Faq"), so that’s why it is a weak example. ====Joust==== Joust has “egg waves” that occur every 5 waves (Janiec). Instead of enemy riders, the player is presented with 12 harmless eggs distributed among the different platforms (Butler "Joust Faq"). The eggs will hatch into enemy riders after a time, but until then they are “basically free points” (Janiec). The player can still lose a life, if his bird falls off the ledge into the lava. ====The Legend of Zelda: A link to the Past==== This game is segmented into two distinct types of game play, the world map game play and the dungeon game play style. In both scenarios the player may come across rooms, caves, or hidden areas. Some of these places contain room a full of rupees, or an increase in life points. While there isn't a clear cut transition into a bonus stage, the criteria that makes other games such as Super Monkey Ball and Sonic the Hedgehog's stages, bonus stages apply also apply in this situation. For example in both of the mentioned games, the intention of collecting bananas and rings respectively is to allow the player to be better off monetarily so they may exchange their wealth for more useful items. Such as, in the case of Super Monkey ball and Sonic the Hedgehog where once the player collects a certain number of bananas or rings, they gain an extra life. In Zelda the main character can exchange rupees for useful items from merchants, or increase their health statistic by finding health points. ==Relations with other elements of the Ontology== ===Parent=== [[Segmentation of Gameplay]] ===See Also=== *[[Level]] ==References== Sellers, John. ''Arcade Fever: The Fan's Guide to the Golden Age of Videogames''. London: Running Press, 2001. Schultz, Andrew, ''Rally-X'' (Arcade) Faq". 2002. Txt File. 1.0.0. Aug 30, 2005 2005. [http://db.gamefaqs.com/coinop/arcade/file/rally_x.txt]. ''Mappy''. Namco (1983) Midway: Arcade. ''Rally-X''. Namco (1980) Midway: Arcade. ''Joust''. Williams Entertainment Inc. (1983) Midway: Arcade. ''Pac-Man''. Namco (1980) Midway: Arcade. 7aed7ce10d05713bef4101d0cc06bcd9ec2ba4c9 0 20 20 2009-08-15T15:38:41Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] ==Definition== ; A particularly difficult challenge that must be overcome in order to continue or finish the game, which serves as a milestone in the gameplay activity.: A boss challenge is a capstone of gameplay activity. Boss challenges (games may have more than one) are unique because they present a trial that does not spring from the natural progression of previous challenges. For example, the difficulty may be increased significantly, the player might have to resort to new tactics, or there might be additional conditions/restrictions on the player’s actions. As the name implies, the player may also have to face the boss, an opponent that is substantially different from previous ones in terms of size, power and vulnerability. Often, the boss challenge is present in the context of some other form of segmentation. For example, the last level of a series may contain the “boss”. This level would be considered a boss challenge; succeeding here is a climax to the player’s activities in previous levels. Some questions that may help determine the degree of a Boss Challenge, if answered affirmatively: *Is the difficulty of the challenge considerably higher than that of previous challenges? *Does the player have to come up with new gameplay strategies, different from the ones used previously in the game? *Is the challenge at the end of the level? (i.e. beating the challenge means finishing the level). This ontology entry used to be called ''Boss Level'' ==Examples== ===Strong Examples=== ====Donkey Kong Country==== Each of the regions in Donkey Kong Country is completed only after defeating a boss in the final level for that region. Beating this boss gives one access to some bananas as well as passage to the next region to be explored. Also, at the end of the game, there is an ultimate boss that must be defeated to get to the ultimate banana hoard. The first boss is rather simple to defeat, but they get progessively harder as the player advances further in the game. ====Diablo II==== In Diablo II, there major bosses separating each major world segments, as well as a layering of bosses throughout every aspect and explore-able area of the game. The game title itself is the name of the last Boss, Diablo. ====Everquest==== An old school MMORPG, EQ can be considered the predecessor to World of Warcraft. Throughout the game players encounter Bosses (often called "nameds") that are more difficult than the normal creatures fought along the way. Bosses are typically in a lair and have special abilities that make the fight more challenging, for example, the war God Cazic Thule has a Death Touch ability-when engaged in combat kills someone instantly every minute. The various special abilities requires players to strategize on how frequently to heal their allies, when to use certain kinds of damaging attacks, and the best spot to fight the Boss. ====Knights of the Old Republic==== This RPG is broken up into actual different worlds, which the player can hyperspace-jump between. The player must complete the main plot line of each world before defeating its boss and retrieving a piece of the Star Forge. ====Final Fantasy VII==== After every segment of story there is a boss fight. There are also a couple of optional bosses to fight. ====Diddy Kong Racing==== In this game there are challenge boss racers at the completion of each "world". In addition, each boss gets progressively more difficult with game progression until the final boss, Wizpig, in which one must be practically flawless to beat. ====Lost Planet==== On each level you must defeat a boss at the end and with each increasing level the boss becomes more and more difficult. ====R-Type==== After reaching the end of a level, the music changes the environment and enemies disapear and a large enemy (the boss) enters the field of view. This is a strong example because there is a clear distinction between difficult enemies, such as transport ships which take several hits to destroy, and the boss. In addition, the bosses of R-Type and shoot 'em ups in general have a different attack mechanic that other enemies in the game. ====Pokemon==== Pokemon is a strong example of a game with Boss Challenges. Usually in every town, the player must defeat the gym leader. Each gym leader has different types of Pokemon such as Water or Fire and different strategies are necessary for defeating each one. ====Ikaruga==== In Ikaruga you have to fight through several stages and at the end of these stages there is a definite Boss Challenge. The Boss Challenge will be in the form of a large enemy ship that you will have to attack in a certain manner in order to defeat. ====Final Fantasy X==== Usually after defeating a dungeon, or even right in the middle of a dungeon, the party has to fight a boss to advance in the story. The boss is usually of a higher caliber than the monsters in the dungeon and usually has a cutscene involved in introducing it. Some bosses include Lord Ochu and the many forms of the main antagonist, Sin. ====Donkey Kong==== Kong appears in every level; he conveniently manages to escape, until the last level – the boss challenge – where he can finally be defeated. Defeating Kong in this case requires using a different tactic, releasing all the bolts holding up the structure, rather than simply climbing up. ====Viewtiful Joe==== At the end of each level, Viewtiful Joe has to fight the level boss, which usually appears in a distinct location, though it is usually connected with the rest of the level. There are eight bosses: Charles the 3rd, Hulk Davidson, Grane Bruce, a Joe Twin, Alastor, Fire Leo, King Blue and Captain Blue. The first five bosses you play at the end of each level. In the last level the player has to go through each previous boss challenge again, and then the other three new bosses to finish the game. ====The Legend of Zelda==== Every level (dungeon) in the Legend of Zelda has a boss that must be defeated. The first dungeon holds Aquamentus who shoots beams at Link. This creature is usually mistaken for a dragon but, more than likely, was meant to resemble a Hippocampus from Greek mythology. ====Mega Man==== The entire game is structured around boss battles. Each level is listed according to the boss you must fight at the end of that level (i.e. Cutman, Iceman, etc). The boss is always fought in a room at the end of the level, which also serves a continuation point of you lose. All abilities in the game are acquired by defeating bosses (Cutman gives you cutting power, Iceman gives you freezing power, etc). ====Sonic the Hedgehog==== Every few levels Sonic has to battle Dr.Robotnik. In each fight Sonic must find and exploit Dr. Robotnik's weakness in order to progress in the game. Dr. Robotnik usually appears piloting a crazy machine, with different machines having different weaknesses. ====Super Mario Bros. 3==== In SMB3 for the NES, the player must fight a boss at the end of each world. The bosses are all koopa kids with various abilities with the final boss being Bowser. ====Ratchet and Clank: Going Commando==== Ratchet and Clank: Going Commando thare is one final boss at the end of the game that players must defeat to beat the game. It is a giant blue animal that looks like a cotton ball with a mouth. It jumps around and tries to bite you. If you have strong enough weapons and enough ammunition it is easily defeated, but that is if you have those things. ====Metroid Prime==== Samus fights numerous boss battles throughout the game. Each boss battle is distinctly recognized as a boss since they; having their own fighting arena, reward the player with a special item if defeated, and the music changing to a more intense tone. When Samus scans the bosses, the information received also implies that the creature she is facing is indeed a boss. ====Super Mario World==== Super Mario World is a good example of boss challenge because there is a boss at the end of each world. Each world has its own castle occupied by one of the koopas. Each koopa must be defeated in his or her own way such as being pushed into lava or jumping on his or her head. The final and most difficult boss is Bowser, who sits atop his ship and attacks Mario with a variety of projectiles. The game also has mini bosses in some of the worlds called Reznors, 4 triceratops that sit on a ferris wheel. ====Dead Rising==== This game is a great example of a boss challenge because all the bosses are psychopaths (as opposed to the normal zombie opponent), they all have thier introduction cutscene, a health bar with the name of the boss appears over the enemy's head, and it says the name when you take a photo. Also, another way you a given a good sense of a boss challenge is by getting achievments for defeating and photographing psychopath bosses. The final boss on overtime mode is the first time you shoot the turret on the back of a hummer as your female companion drives away from a prototype tank with several attacks. After the first boss fight you fight the pilot of the tank which forces you to fight totally unarmed. There is a lot of stress on doing well in the game by finding good items but this makes you do something new. ====Crash bandicoot: Warped==== Crash Bandicoot is a clear example of how the the bosses in each level embody a particular theme of each stage while challenging the player to develop a strategy of moves to defeat the boss. Also, as the boss is defeated in each level, the player gains new moves and abilities such as jumping, running, and spinning. The boss challenge allows the player to accomplish the level's goal through a limited set of abilities, but after the boss is defeated, the player is rewarded with new and improved moves. ====Zone of the Enders: The Second Runner==== Zone of the Ender: The Second Runner is a strong example of the boss challenge because it is clearly segmented into levels, and at the end of every level is a cut scene followed by a difficult fight that usually requires some trick to overcome and is followed by the player being rewarded with a new "program", or weapon. ====GTA San Andreas==== GTA San Andreas is a strong example of the game with the Boss Challenge. Even thought the game does not have the strictly defined levels the whole game could be seen as one level as a whole. In the end of that level (the game) there is a main Mafia Godfather that is quite difficult to kill and requires different strategy to eliminate than the other mafia members. Following this pattern of thought GTA San Andreas could be seen as a strong example of the game with the Boss Challenge. ===Weak Examples=== ====Tony Hawk Pro Skater 4==== In every level of this game the player must pass a mission that is a competition. This is similar to a Boss Challenge because it is a challenge in the game that is more difficult that the others. Also, there are available "pro challenges" for the player to try that are similarily more difficult. ====WarioWare Inc: Mega MicroGame==== In the story mode of WarioWare Inc, the Boss stages do not consist of a boss that has to be beaten, while the challenge of increased difficulty, which requires new strategies to be complete, is the minigame itself. ====Dig Dug==== In each level of Dig Dug, if the enemy the player leaves for last is one of the dragons, it will transform into a faster, more powerful enemy. This does not always happen in the early stages of the games, but is permanent after level 5. This forces the player to not leave the dragons until the end, unless she wants to face a boss. ====Frequency==== The player reaches the end of a series of songs and must beat a final song before entering the next section of the game. This is a weak example because it is not clear who or what the boss actually is. The song may be more difficult than the others but there may be other non-boss songs that are difficult. The boss is not represented by any recognisable entity such as in Donkey Kong or Mega Man. ====Gears of War==== Though Gears of War have at least two boss battles the game consist maninly of wave challenge. Gears of War can still be catergorized as containing boss challenge segmentation because you have to defeat bosses in order to keep the game progressing, but it is a weak example because the majority of gameplay is spent fighting large numbers of enemies. ====Heroes of Might and Magic II==== When playing heroes there is always a opposing cpu that has a main character that is the highest level and the boss of the cpu's kingdom. You have to defeat this "boss" in oder to win the game but he is not a clear defined boss battle set up by the designer to lead up to as a climax but rather an all powerful cpu that must be delt with in order to win. You can defeat him in the first two minutes and still not win but you can't win without beating him. ====Halo 2==== This game's boss challenges does not involve an opponent that is at the end of the level. Hunter's are the boss type opponent in this game and they are an enhanced version of the enemies. They do not have the power of a boss from a normal game. These bosses are also too easy to defeat and they are not the goal of the levels. They are more of a stepping stone to beating the level/game. Usually, bosses mark the end of a level and objective of a mission, and in Halo there are a variation of enemies that are more of a challenge to defeat and can reappear at different levels. ====Resident Evil 2==== There are enemies that are more powerful, such as the tyrant in the second round of the game that could be considered boss-like. At the end of both games you fight a final William that could be considered a boss fight even though there is not distinct signal such as a life bar or anything to obviously seperate it from the rest of the game except for narrative. ====Super Puzzle Fighter II Turbo==== This game has various opponents that a player has to progress through to beat the game, however, no particular player is considered a "boss" and the aspects of a boss challenge do not exist precisely because each character is of equal status on the hierarchy of players to choose from. Furthermore, the last character a player battles in 1-player mode is always random and only the degree of difficulty changes slightly as the player progresses through the game. ====Dark Messiah==== Dark Messiah features poorly thought-out Boss Challenges, especially the last one. By picking the correct spells and spamming potions, you can essentially flamethrower the final boss and his flying undead wyvern to death while under an invulnerability effect. As the player knows the game will end soon, he will not conserve his resources, and the only reason why one would lose is by not mashing potion hot keys fast enough. ====Call of Duty 3==== COD3 considers not to have the challenge of a final boss or any type of boss for that matter. This game relates to the idea of World War Two where is there not really any goal of killing a certain being or boss. Throughout the gameplay, your character is there to help clear a building or a certain piece of land. Once a certain area by accomplished by completing all the mini tasks, the player will stop gameplay, watch a cut scene and continue towards another area. There is no existance of any type of Boss in this game. ====Goldeneye 64==== The closest thing to a boss in this game is the guy you have to kill at the end. However, he appears merely as an additional enemy that spawns after you kill a bunch of henchmen in that level. He doesn't have his own room or introductory scene. He just pops up and you have to chase him around the same area you've been playing in the whole time. The only thing that makes him different from his peon henchmen is that he requires more shots to kill. ====Elder Scrolls IV: Oblivion==== There are no real "Bosses" in Oblivion. Some quests contain stronger enemies at the very end, but these are less boss characters and more finer detailed enemies. They might be high leveled than the generic enemies in the area, but the only real difference is that they have a name. They are still the same form of character instance as the random generic enemies players might find elsewhere. ====WarCraft III==== There is no clear boss in this game as you really are meant to destroy all opposing forces. There are Heros in the game which could be considered a boss but truly you can just state these characters as a stronger unit then any other in the game. Sometimes you are made to run away from a boss in order to obtain the given objective. Also to win the round there is no one person that you are required to kill, thus this takes away the final boss aspect of the game. ====World Of Warcraft==== The progression of this game is in part propelled by zoned instances each containing one or more bosses, the farther into the game and the deeper into the end game content you delve the more these instances become your milestones. Before the expansion the top boss fights were in places like AQ40 and Blackwing Lair. Although these boss fights help you to progress thru the content and in some ways are the final content of the game, more then 80% of the time I spent online was killing either other players or creatures roaming around. This could be a weak or strong example depending on if you are an end game player or not. ==Relations with other elements of the Ontology== ====Parent==== [[Challenge Segmentation]] ==References== ''Donkey Kong''. Shigeru Miyamoto (1981) Nintendo: Arcade. ''Viewtiful Joe''. Capcom (2003) Capcom: GameCube. ''WarioWare Inc: Mega MicroGame$''. Nintendo (2003) Nintendo: GBA ''Dig Dug''. Namco (1982) Atari: Arcade 115dad6ef3caa4d1827a60dea98566421d3dbdf7 0 21 21 2009-08-15T15:29:19Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] These commonly appear in beat-based games like PaRappa the Rapper [NaNaOn-Sha, 1996], where players must match button presses (or floor-mat presses) to music. Buttonpress indicators tell players which buttons to press at a given point in the music's rhythm. ===Examples=== ====Strong example==== PaRappa the Rapper [NaNaOn-Sha, 1996] provides a timeline along the top of the screen, overlaying the game's main view. The timeline contains icons representing PlayStation controller buttons. An icon of PaRappa's head traces through the timeline, providing players a visual representation of where they are in the music and what buttons they should prepare to press. ---- ====Part-Of==== *[[Head Up Display]] ---- ====References==== NaNaOn-Sha, developer. (1996). PaRappa the Rapper. SCEI, playstation edition. b7d7ff114e60c2b8842bc3b3334b401b44019279 0 111 111 2008-12-18T21:03:28Z Jp 0 2 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] A graphical representation of the game world in which the world, the entities within it and their spatial relationships are depicted visually. We are adopting a camera metaphor to describe such views partly due to its utility in describing the views used in games that have a three dimensional view. Another factor in our decision is that two dimensional visual representations of a game world can be considered a camera view as well, simply one that is restricted to moving in two dimensions. Rather than panning or circling around to follow action like in Super Mario 64 (Miyamoto, 1996), it trucks left or right, up or down, such as in Super Mario Bros. (Miyamoto, 1985) or Double Dragon (Technos Japan, 1988). The visual style of the view is irrelevant to camera based views as were speaking of them. That is, whether a game uses cel shading techniques to give the world a two dimensional look, whether its a photorealistic 3D representation, vector graphics or ascii art has no bearing on whether a game qualifies as having a camera based world view. All of the views listed above are visual representations of the world, they simply adopt different styles of creating that visual representation. '''See also''' [[Cardinality of Presentation]], [[Cardinality of Gameplay]] '''Strong example''' The view in Super Mario Brothers [Miyamoto, 1985] consistently displays Mario or Luigi in the game world, following the character's progress across the game world. As the player moves Mario or Luigi to the right, the game's two dimensional camera moves right to provide a view of Mario/Luigi and nearby terrain and enemies. '''Weak example''' Nethack [NetHack DevTeam, 1992] uses ASCII art to depict the game map. While this visual representation is text based, it is a visual representation rather than descriptive prose. '''Counter example''' Zork [Blank and Lebling, 1982] and other Interactive Fictions (such as Planetfall [Meretzky, 1983]) describe the game world to the player in prose. Some of the more exotic IFs use alliteration, rhyming, metaphor, poetic language or wordplay (such as Ad Verbum [Montfort, 2000] or For a change [Schmidt, 1999]) to describe the game world and the ways the player can interact with it. ---- ====Parent==== *[[Visual Output]] ---- ====Children==== *[[Camera Binding]] *[[Camera Dimensions]] ---- ====References==== Blank, M. and Lebling, D. (1982). Zork. Infocom, apple ii edition. Meretzky, S. (1983). Planetfall. Infocom, pc booter edition. Miyamoto, S. (1985). Super Mario Bros. Nintendo, Nintendo entertainment system edition. Miyamoto, S. (1996). Super Mario 64. Nintendo, Nintendo 64 edition. Montfort, N. (2000). Ad Verbum. NetHack DevTeam, developer (1992). NetHack. Schmidt, D. (1999). For a Change. Technos Japan, developer (1988). Double Dragon. Tradewest, Nintendo entertainment system edition. 1b63a8c0ed4fe8bc4686e2359ced40f29d35019b 0 112 112 2008-12-18T21:03:28Z Jp 0 2 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] In order to prevent players from feeling disoriented and frustrated, visually presented games maintain continuity in the view they provide the player by binding the view to something within the world. In some cases the camera is bound to a location in the game world (located camera), in others it is bound to a game entity, such as the players in-game avatar (targeted camera), and in others it is bound to the players controls (roaming camera). These methods are not always implemented in a mutually exclusive fashion. In many games where the camera targets the players avatar, the game provides a degree of player control over the camera angle, as seen in games like Super Mario 64 (Miyamoto, 1996) and The Legend of Zelda: The Wind Waker (Aonuma, 2002). ---- ====Parent==== *[[Camera-based World View]] ---- ====Children==== *[[Located Camera]] *[[Roaming Camera]] *[[Targeted Camera]] ---- ====References==== Aonuma, E. (2002). The Legend of Zelda: The Wind Waker. Nintendo, Gamecube edition. Miyamoto, S. (1996). Super Mario 64. Nintendo, Nintendo 64 edition. e56c6313a0c4879230b3ac59c6a4cfab7234ba53 0 113 113 2008-12-18T21:03:28Z Jp 0 2 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] The dimensionality of the camera and degrees of freedom that camera has to depict the game action. These often take the form of a three dimensional representation, sometimes a two dimensional one. As noted in the section on Cardinality of Presentation, this camera dimensionality depends very little on the cardinality of the gameplay. A number of games have represented a three dimensional space using a two dimensional camera view, such as Double Dragon [Technos Japan, 1988]. Some games are now using three dimensional cameras to depict essentially two dimensional action in a world that some may argue has effectively two dimensions. For example, Ikaruga [Iuchi, 2003] shows a top-down view of a space ship progressing through a series of mazes and enemies. All game action takes place in a two dimensional plane. Enemies can fly into the action from above or below, but cannot shoot at, be shot by, or otherwise interact with the player(s) until they enter the two dimensional plane in which the game's action takes place. A camera's dimensionality breaks into two areas. The dimensionality of the camera's view describes how the camera frame represents space, whether using two dimensional graphics or by graphically approximating three dimensions. Dimensionality of camera motion describes how the camera moves within or in relation to the represented game world. ---- ====Parent==== *[[Camera-based World View]] ---- ====Children==== *[[Three Dimensional Camera Motion]] *[[Three Dimensional Frame]] *[[Two Dimensional Camera Motion]] *[[Two Dimensional Frame]] ---- ====References==== Iuchi, H. (2003). Ikaruga. Infogrames, gamecube edition. Technos Japan, developer (1988). Double Dragon. Tradewest, nintendo entertainment system edition. 0bc0d7e4ac1c4cf2f2ef1e4e3d26a6ea134c3c70 0 114 114 2008-12-18T21:03:29Z Jp 0 19 revision(s) wikitext text/x-wiki {{outofdate}} [[Category:Ontology]][[Category:Interface]] The Cardinality of a Gameworld is an aggregate value of spatial freedom within a gameworld representing all possible dimensions in which movement can take place. Many games are spatially-based in the sense that a player must interact with a gameworld that is defined and presented as having distinct spatial properties. The cardinality of any given gameworld is an encompassing description of all possible spatial movements available to entities within that world. The gameworld’s cardinality is also used to describe the space that these entities pass through. In more canonical game designs, these movements are often characterized by motion along a combination of orthogonal axes. Thus it is common to classify gameworlds as being one-dimensional, two-dimensional, three-dimensional, etc. based on the number of orthogonal axes available to game entities for motion. It is important to note that these examinations may not concretely identify a gameworld as being a purely one-dimensional, two-dimensional, or three-dimensional gameworld, etc.. As with all Ontology entries, it is important that allotments are made for strong and weak examples of each instance. In determining the cardinality of a gameworld it is important to consider the degrees of locomotive freedom that have been granted to each entity in the game. Additionally, the circumstances under which these degrees of freedom occur must also be taken into account. For example when considering consider the classic arcade game Space Invaders, which is spatially-based on a standard Cartesian reference system containing two orthogonal axes, we can note that the player controls a spaceship that can freely move left or right along an X-axis. The spaceship also fires missiles that can only ascend along a Y-axis. Finally there are ‘invaders’ that can only move left or right along an X-axis and descend along a Y-axis. In consideration of these circumstances, we would conclude that cardinality of Space Invaders’ gameworld is a strong two-dimensional example since the invaders are free to move along two orthogonal axes. This is despite the fact that the player’s spaceship has only one degree of locomotive freedom (the player is unable to control missiles once they have been fired). It is also possible that there may be cases where game entities possess equal degrees of freedom but along different axes. As an example, imagine that the invaders were only able to descend along the Y-axis (they have lost their ability to strafe along an X-axis). Under these circumstances, all entities in the game have been limited to one degree of freedom. However, the player’s spaceship moves along an axis that is orthogonal to that of the invaders. We would describe this game as a weak example of a two-dimensional gameworld. In other cases, while the player may have the perception of a world, the actual dimensions of this may be unclear or undefined. This is commonly seen in text-based adventure games where the locations that the character visits may not follow normal rules of logic. For example, typing "North" to exit a location and then typing "South" may not lead the character back to the original location despite the logical assumption that moving "North" is the inverse to "South." Also, in many games there is certain confusion caused by changes in representation between levels or episodes of the game. In fact, the mere existence of various levels makes this distinction more confusing. In a game such as Donkey Kong, where there are 3 distinct 2D levels, do we consider each level a place that is connected to the previous ones? Would that make Donkey Kong's game world 3D? For simplicity, we refer to the cardinality of space in terms of what is represented in a level or episode. Thus, for the case of Donkey Kong, we would maintain that it takes place in a 2D game world. We note that the cardinality of space refers to the perception of the game world by the player and not to the actual degrees of freedom the player is allowed within the game world. To account for this, please refer to [[Cardinality of Gameplay]]. ---- ====Parent==== *[[Presentation]] ---- ====Children==== *[[1-Dimensional Gameworld]] *[[2-Dimensional Gameworld]] *[[3-Dimensional Gameworld]] *[[Undefined Gameworld Cardinality]] 12e424b3493bfab17bd23f29e5bf0c0105160977 0 115 115 2009-08-15T15:29:45Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] The cardinality of gameplay refers to the degrees of freedom the player has with respects to movement (or the control of movement) in a certain game. For example, the player may control a character that moves left and right or have to place tokens on a 2-dimensional board. Other games, allow the player to control movement in 3 dimensions. It is important to note that the cardinality of gameplay is related, but not necessarily the same as the cardinality of the gameworld. For example, while the classic game of Monopoly is played on a two-dimensional board, the players tokens are limited to move along one dimension and always in the same direction. In this example, the cardinality of gameplay is 1D. We also note that the cardinality is only with respect to the movement the player can perform and this is independent of other actions, or that the effects of those actions may occur in some other dimension. For example, in Space Invaders the player controls a ship that can move from left to right along the bottom of the screen. The players ship can also fire shots that travel upwards along the screen. In this case, the cardinality of gameplay is 1D, despite the fact that the gameworld is 2D and that the players shots have effects outside of the limits of the players movements. ==Examples== ===Strong Example=== ====Super Metroid==== Super metriod has complete cardinality in two dimensions, with a slight hint of a third. The player is allowed to jump, crouch, walk, run, scale walls (through the use of wall jumping or bomb levetation), and swim in water. At times, the player may pass behind or infront of some seemingly solid item, giving the impression of depth and the idea of a third dimension in the the gameplay. (you need to go BEHIND that wall to get the powerup.) ====World Of Warcraft: The Burning Crusade==== In the expansion to the MMORPG World Of Warcraft, players are entertwined in a fully functional three demensional gameworld. Movement on the ground includes forwards, backwards, left and right, including jumping and/or flying on a player purchased mount such as a Griffon. The third dimension is further explored through water when the player is allowed to swim. ====Space Invaders==== In the classic ''Space Invaders'', the cardinality of gameplay is one-dimensional, since the player can only move from side to side. ====Tetris==== The cardinality of gameplay is two-dimensional. You move left, right and down. There is the gravity factor that forces the piece down, and even though you cannot move up, it still is two-dimensions. ====Cave Story==== In the PC/Mac platformer "Cave Story", the cardinality of gameplay is two-dimensional, as the player controlled character, a robot, can walk left to right, and can jump and fall. ====Descent 3==== In Descent 3, the cardinality of game play is entirely three-dimensional. The player ship can move forward, backward, up, down, as well as pitch and yaw through completely three dimensional space. Much of the gameplay involves exploring all angles of the environments. ====Lord of the Rings: Battle for Middle-Earth 2==== In Lord of the Rings: Battle for Middle-Earth 2, cardinality of gameplay is two-dimensional. The player can control units, but they can only move North, South, East, or West (up, down, right, or left on the screen) ====Final Fantasy Tactics==== During battles, the characters can be moved in 3 dimensions according to the grid-like map. That is, they can move in a rotate-able XY coordinate plane and move vertically depending on the terrain comprising the battlefield. ===Weak Example=== ====Scorched Earth==== A weak instance of cardinality of gameplay can be found in ''Scorched Earth'', a battle of wits with cannons, where the player selects the angle of rotation and the speed of the shot to hit her enemies. The angle rotates around one axis, while the speed selected constitutes a second, weak axis, since the shot can only go forward (not backwards). However, a three-dimensional version of the game made by fans allows two-dimensional cardinality, since the player can in the four directions to destroy the invaders. ''Scorched Earth'' also featured an optional purchasable item, fuel, which would allow the player limited horizontal movement across the terrain. The movement was limited by the slope of the terrain the tank was trying to navigate, often allowing the player to fall into pits which left them stuck and prone. ====Mario Party Series==== The cardinality of gameplay is difficult to measure in the games. This is due to the fact that you are moving your players along an interactive gameboard. You have no choice in what direction they are moving. Also, when you engage in the mini-games, the cardinality of gameplay is completely different. The question that comes to mind is that becasue the mini-games have cardinality, does that constitute the enitre game as having cardinality? ====Tales of Symphonia==== While ToS exhibits a strong indication of cardinality of gameplay when the character is roaming the maps and dungeons, it has very weak cardinality of gameplay within the battles. Inside of the battle system, the player is only able to move two ways: back and forth. He cannot move to his left or right according to the way he is currently facing. However, if he changes his point of orientation, i.e. switching his target from one enemy to another, he will be on an angle of moving back and forth compared to that object, which may in fact cross over his old path of movement. Regardless, this is a poor way of providing freedom in battles; therefore I feel Tales of Symphonia has very limited cardinality of gameplay within its battle system. ===Project Justice=== This game would be a strong example of a 2D cardinality were it not for the inclusion of a sidestep dodge. The player can move the character in a 2D plane with the ability to move forward, back, jump and duck. However with the push of the L button the character sidesteps away form the camera, this is not true 3D cardinality either as the player can only sidestep in a single direction, away from the camera. The camera also moves with the player giving an impression of a rotating 2D field. ==Relations with other elements of the Ontology== ====Parent==== *[[Gameplay Rules]] ---- ====Children==== *[[0-Dimension Gameplay]] *[[1-Dimensional Gameplay]] *[[2-Dimensional Gameplay]] *[[3-Dimensional Gameplay]] *[[Undefined Cardinality of Gameplay]] ==References== ''Scorched Earth'', PC-DOS, 1991 ''Space Invaders'', Bally Midway, 1978 [http://www.fresh99.com/3d-space-invaders.htm ''3D Space Invaders''] 36659ec569805a5cd918aea8a211fe2b1647943a 0 116 116 2008-12-21T17:50:57Z Jp 0 Reverted edits by [[Special:Contributions/213.165.86.131|213.165.86.131]] ([[User talk:213.165.86.131|Talk]]); changed back to last version by [[User:Jp|Jp]] wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] ==Definition== ;Dividing gameplay in discrete, self-contained challenging situations, which are perceived by the player as a test or trial.: One of the least clear-cut forms of gameplay segmentation is segmentation by challenge. It is particularly difficult to define because most games, regardless of how their gameplay is segmented, try to increase the difficulty and challenge as the game develops. Thus, it is harder to recognize segmentation based on providing different challenges. The essence of this form of segmentation is to have the player resolve a series of discrete self-contained challenging situations, their most salient feature being that they are perceived by the player as a test or trial. Specific forms of challenge segmentation include puzzles, boss levels, and waves. Sometimes the increase in challenge is accomplished by making enemy characters more dangerous, making the player character more vulnerable, or enforcing shorter time limits. Other ways include slight modifications of the rules, or introducing new ones, such as allowing the player to perform new actions. For example, Pac-Man limits the duration of the effect of the power pills while Robotron: 2084 introduces new enemies that require different strategies to defeat. ==Examples== ====Strong Examples==== =====Bust a Move 4===== There are distinct levels that provide more and more challenge for each one. The puzzles are seperated and there is a path that can be followed but ultimately everything is seperated in to segmented levels that are supposed to increase in difficulty throughout the game until the player can not do them and loses or does worse. =====WarioWare Inc: Mega MicroGame$===== The gameplay of this innovative game is broken down in “microgames”. The player has to face a series of continuous challenges, different from one another and usually no more than five seconds long, where the player usually only has to press a button or two at the right time. =====Street Fighter II===== In the Street Fighter series, the player has to face one opponent at a time, which can be another player or a computer-controlled opponent. The player has to beat his opponent two out of three or three out of five rounds; after that, a new opponent appears. The life gauge replenishes with every new round for both fighters. Fighting games are a significant example of challenge segmentation, since they have their origins in the late-80s beat ’em ups (e.g. Double Dragon, Golden Axe), where the player had to beat waves of enemies as he advances from a segment to the next. The waves of enemies became one single opponent, as the fighting mechanics became more complex to provide different attacks. =====Super Smash Brothers===== In Super Smash Brothers, the one-player mode allows the player to face different challenges throughout the progression of the game. Fighting various characters one at a time, the player must knock the opponent outside of the playing field. In some cases, new waves of opponents and new fighters come onto the screen with full health. The player must manage their own health bar in order to survive the waves of opponents like the Yoshi or Kirby wave stages. This game also has mini-games with a variety of challenges like destroying targets or racing against time. =====Seiken Densetsu 3===== Many RPGs are built around systems of narrative segmentation, but in this case describing the progression as challenge-segmented is more accurate because the story doesn't progress until the player fights their way through a dungeon to a boss. After defeating the boss, the story progresses via mostly dialogue with little to no combat until the next dungeon. =====Madden NFL 2007===== In Madden, you can play a "season" mode where you play a series of matches. Each match could be consireded a challenge, and thus this game would have challenge segmentation from that perspective. =====Rayman Raving Rabbids===== There are 4 mini games per level until you reach the level boss. Each of these mini games is like a challenge segmentation. They get more and more challenging as you get farther into the game. ====Weak Examples==== =====Tetris===== Tetris is a weak example of challenge segmentation. There is no animation or narrative card that alerts the player that the game is about to get challenging. The only indication the player gets is a numerical level change on the side. But players are usually concentrating on the falling blocks and are unaware of the increase in the challenge of play. =====The Sims===== The sims is broken up into challenges of all kinds. The challenge of getting a promotion, challenge of getting your person in a good "mood" before going to work. The challenge of creating your dream home. It has many challenges but none are clear defined goals and can get rather unclear on how to proceed, the player has to decide what he/she wants in order to be challenged and that is why its a weak example. =====Fallout 2===== Fallout 2 is a weak example of challange segmentation. Enemy encounters are often random, and can typically be avoided or escaped. When battle is unavoidable, it occurs largely on the player's terms in that it can be put off until the player reaches a level of skill that makes the battle easy. While other challanges in that game, such as quests or errands, sometimes act as gatekeepers or preconditions for entering certain areas, the game at large can be traversed relatively unimpeded. ==Game Ontology Relations== ====Parent==== *[[Segmentation of Gameplay]] ====Children==== *[[Boss Challenge]] *[[Bonus Stage]] *[[Puzzle]] *[[Wave]] *[[Mission]] ==References== ''Pac-Man''. Namco (1980) Midway: Arcade. ''Robotron 2084''. Williams Entertainment Inc. (1982) Midway: Arcade ''WarioWare Inc: Mega MicroGame$''. Nintendo (2003) Ninendo: GBA ''Street Fighter II''. Capcom (1992) Capcom: Arcade 72432c0743440eb6c12c2f4dc3bb52b3719a8e5f 0 117 117 2008-12-18T21:03:38Z Jp 0 49 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]][[Category:Proposal]] {{proposal}} Many games allow the player to customize his or her character or characters prior to starting to play the game. Customizations usually involves either tweaking parameters or choosing from a list of options. While most games allow a player to make changes to the character during the game (such as changing the weapons equipped), this entry refers to choices that impact gameplay that the player makes before starting to play. ==Examples== ===Strong examples=== ====Tiger Woods PGA Tour 07==== The first thing you do in this game is create your character. You get to choose from a multitude of custimizable aspects to your character. You get to choose the race of your player and then you can change everything about his look from his eyes and height and weight to his age and freckles and voice. The options are very detailed and you can change the look of your character very easily and custimize him/her to your own likings. The system allows you to have many many options on how to change your character. ====Neverwinter Nights==== In Neverwinter Nights (and other D&D-based games), the player customizes a character by choosing from a number of discrete possibilities (class, alignment, etc.), and then assigning a number of skill points (depending on those choices) to various attributes, such as dexterity, stamina, etc. ====FIFA 07==== The character customization options in ''FIFA 07'' are excellent. The player has the options of customizing every aspect of a character, he or she has ability to decide exactly what the character is going to look like. For example, the player has control over the size and shape of any facial characteristics, as well as the weight, height, and age of a character. Along with these customization, the player also has the option of deciding how "good" the character is going to be; the player is given the choice of determining the exact skills that the character will have. ====Star Wars: Knights of the Old Republic==== The customization process begins with a selection of a class (Soldier, Scout or Scoundrel) and gender. This will determine your options in the next step, which is feeding points into your attributes and skills. This will provide a basis for the player's future level-ups in the game, as will another opportunity for character customization, when the player is given the opportunity to choose which class of Jedi (Consular, Sentinel or Guardian) to become. ====Final Fantasy XI==== In Final Fantasy XI at the beginning of the game, you can choose what race you want to be and what type of character model you wish to be. For example, one human may have short and bushy hair when another human may have no hair at all. Also ingame, you can buy certain armor that changes not only the appearance of you character but also affects your stats as well. Since there is a vast majority of different types of armor, it means that the majority of the players are different which makes Final Fantasy XI a strong example of character customization. ====Final Fantasy Tactics==== In tactics the player has a team composed of about six characters, all of which are customizable. The player can choose the main characters name as well as generic characters. He can also choose the gender of the generic characters. All the characters can have various equips too boost their stats and the player can then choose a class for each character. Once the characters level up, the player can distribute points to lear class skills for that character. The character can then change classes while still having those skills, this allows for numerous combinations. ====Ragnarok Online==== Ragnarok online provides the player with a great deal of customization for his or her character. When beginning the game and creating a character, the player has the option to customize the character's abilities and stength in multiple categories which later serve to influence how strong the player's character is in combat. This system allows each character to be slightly unique, making no character exactly the same in strength as another. ====Tony Hawk's Pro Skater 3==== One of the most exciting things about this game is the ability to create new and interesting characters. Everything about your character can be modified, ranging from hair color and height, to board set up and skill concentration. Pre-made pro skaters may also be selected, but for those who wish to get "personal" with the game, you can design a character that reflects your own skills, dimensions, and appearence. As a skateboarder, I always loved this feature because it allowed me to feel more invested in the game, almost like I was doing all the tricks myself. ====NBA Shootout 2005==== NBA Shootout 2005 provides the plaer with a flood of features of customization for his or her character. When you start customizing you can first choose the height of your player which also correlates to which position that you would choose. You wouldn't like to put a 5' 4" player in a post position. After you are allowed to choose what skin color you want, color of your eyes, and all the aspects to your uniform that you want. The feature that allows you the most fun though is the feature that allows you to control the body parts of the player. If you want the player to have huge hands, go on ahead. The game allows you to control every aspect of customization which makes this game a stron example of character customization. ====World of Warcraft==== The first thing you do in WoW when you are creating a character is to customize the character. You get to choose what the character looks like as well as what faction, race and class they will be. The faction you choose determines what side of the war you are on and who your friends/enimies will be. The race you choose determines what city or area of the world map you will start out in as well as the history of your character. And lastely, the class you choose will determine what type of weapons, magic, armor, and pets (if any) you will be allowed to acquire throughout the game. The decisions you make when creating a character has a big effect on the gameplay. ===Weak Examples=== ====Tekken 3==== Tekken 3 for all platforms is a weak example of character customization. The player can choose between some alternative costumes for the fighters. These costumes have practically no effect on the gameplay but afford the player the ability personalize his or her chosen fighter. ====Tekken 5==== Tekken 5 for the PS2 allows the player to customize each characters outfit. This is a weak example because the player cannot customize every aspect of the character and also, customizations do not affect gameplay. ====Gauntlet==== In Gauntlet, the player can implicitly choose between playing a Warrior, Wizard, Valkyrie, or Elf by choosing which of the four positions on the cabinet to play at. ====Civilization==== In Civilization (and many other RTS games), the player can choose from different civilizations, each with different pros and cons. ====Civilization IV==== In Sid Meir’s Civilization IV, the player can choose from different civilizations, each with different pros and cons but the player can also chose the civilization of the AI. The player chooses the map that the whole game will happen on which is a huge customization of the game. The player has the option to add different “MODS” as a built in option to customize everything from the fact that you can build underwater to having different sciences to almost any other aspect of the game. You also chose AI difficulty, which makes a large difference to the game. You chose what the objectives to winning the game are and than strive to achieve them. You choose how many other civilizations are in the game and the size of the map (any map can be resized using this option). I see this as a very strong example of customization because almost anything that can be customized is actually done before the game begins. The whole definition of a character should be extended to allow for games like this which though they are strong aexamples of the equivalent to character customisation are not actualy a game that is based on a character ====Final Fantasy I==== In Final Fantasy I, the player composes his or her initial party by choosing four characters (with repetition allowed) from a list of character classes: Warrior, Black Belt, Thief, Red Mage, White Mage, and Black Mage. ====Tom Clancy's Rainbow Six Vegas==== In Rainbow Six Vegas, players can customize the look of their character. They can add a vest, body armor, boots, things wearable on the body. The only problem is that it doesn't affect how good of a player the person becomes just merely the appearance. ====Mario Party 3==== This game is a weak example of Character Customization. In Mario Party 3 the player is allowed to chose from one of a handful of Nintendo characters. No two players can pick the same character and the gamer has no choice in character size or color. Throughout the game, present in mini games, some characters are changed in size or appearance depending on the challenge. These effects do not last and are not controllable by the player, so characters are basically unalterable. ====Rayman Raving Rabbids==== In this game, you are allowed to slightly change the appearance of the character. In the dungeon you are able to change your character's hair, clothes, shoes, and accessories. This does not affect the game at all, it's more of just a costume change. ====Street Fighter 2==== Street Fighter allows no character customization in the game. You choose a fighter and what color outfit he may wear but in the end it has no affect on how your character performs in battle. Compared to how vast character customization options in present games are, this acts as a very weak example. ====Katamari Damacy==== While rolling up the mass of the universe, the player's Prince will perhaps find a present among other items. If this present remains in the katamari ball it becomes equipable for all missions afterward. Examples of these presents are a crown, purse, camera, or mask of the King. Excluding the camera, which lets you save in-game snapshots, these items offer mild customization to the player character but do not change the game environment one bit. It doesn't matter whether the crown is equipped or not, it is just an aesthetic add-on. (Davehansen) ====Devil May Cry 3==== In Devil May Cry 3, the player gets the option of choosing a style to use while playing. The style affects what techniques the player can use and may change their fighting style. This is a weak example to character customization because the style you choose to play with doesn't affect much about the game, and the techniques you gain aren't much more useful than the techniques you have at your disposal anyways. ====Magic: The Gathering Online==== In Magic: The Gathering Online, players can choose from among 4 default avatars, or purchase/trade for a numerous selection of different avatars. This is a weak example because the avatars themselves have no effect on gameplay unless you play the Vanguard format. In this case, each avatar grants special abilities and/or bonuses (this format comprises a minority of games played). ===Parent=== *[[Player Manipulable Rules]] 443a3525c891244125a53087b7ec388ab9f3c079 0 118 118 2008-12-18T21:03:40Z Jp 0 50 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] Checkpoints are specific (non random and predetermined) places or moments in a game wherein a player is not forced to start completely over if he or she were to lose a chance. This, of course, only applies to those games where the loss of a chance implies having to begin anew (instead of continuing at the place and moment in which the chance was lost). The use of a checkpoint enables the player to start automatically at the checkpoint that is closest to the ending and has been activated or visited. Different games have different mechanisms for the "activation" of checkpoints. Checkpoints are usually activated simply by reaching them or by explicitly interacting with an object that represents the checkpoint within the level. Each level can have multiple checkpoints. ===Strong Examples=== ====Super Mario RPG==== In Super Mario RPG, Mario can jump on save boxes to save his progress and be able to start over from that point. They are found in all the towns and near the entrances to most areas. ====Sonic the Hedgehog==== In Sonic the Hedgehog there are objects that look like lamps (or lollipops). When Sonic touches the lamppost the bulb performs a circular motion and changes color (from red to green). The change in color indicates that it has been activated. If Sonic loses a chance later on in the level, he restarts at the active lamp that is closest to the end of the level. ====Crash Bandicoot==== In Crash Bandicoot (PSX), there are special crates marked with a "C". When Crash Bandicoot destroys them, they flatten out and the words "Checkpoint" appear momentarily on the screen. This indicates that the checkpoint has been activated. ====Grand Theft Auto: San Andreas==== GTA:SA is a strong example of a checkpoint game. There are various floppy disks that you can find that act as checkpoints and allow you to save your progress at that moment. If you die before you complete your new task, you are able to pick up from the point at which you received the checkpoint instead of the previous task. ====Gears of War==== GoW is a strong example of a checkpoint game. Throughout the 5 chapters, players are able to play the basic campaign mode but also not worrying about saving the progress. During gameplay, a player is able to complete a variety of different tasks, once completed, the game will automatically save itself by showing the little box in the bottom that reads checkpoint. This is very convenient because a player who is far in a chapter will come up to a difficult challenge and die knowning that they are able to play that same challenge right after the player dead! Another convenient feature in this game that relates to checkpoints, is in the title menu where a player is given the option to pick a certain checkpoint in the completed progress and enter gameplay at that certain point. ====Yoshi's Island==== Super Mario World 2 : Yoshi's Island is a strong example of the checkpoint system. During the levels players encounter "star hoops", which once jumped through, save the players position in the level at that point. If you die, you are brought back to this point, and there are mutiple star hoops throughout each level which save you place as long as you jump through them. These hoops also increase you star number, or the amount of time you have to retrive the crying baby mario (a clock counts down when you are injured and mario has been displaced, indicacting how many seconds you have to retrive him or essentialy lose a life and start over) - Once you jump through the hoop you are give 5 extra seconds to this time, but only once. So if you die, or lose baby Mario, you are still brought back this spot in the level. It is possible to play past levels, but previous completions of a level do not affect where you star out in the level. ====Resistance: Fall of Man==== Resistance: Fall of Man is a great example of the a game with checkpoints. A player must battle his way through each level which may consist of a varying amount of checkpoints. When a player dies they are transpoted back to savepoints so it give the feeling that some progress has been lost. Often one of the greatest goals in a first person shooter is to accomplish a checkpoint so that progress in a game can be accomplished. ====Crash Bandicoot==== Crash bandicoot allows the player to easily bypass tedious or difficult tasks in a level through its many checkpoints. There are several checkpoints throughout each level, which allows the player to have more control over how much progress the player can gain. ====Pac-Man World 2==== Pac-Man World 2 is a very strong example of a checkpoint game. Every level throughout the world is filled with many challenges and enemies so it is very easy to die. Luckily there are at least 3 checkpoints in every level so when you do die, you don't have to start the level over again, you get to start from the last checkpoint you made it to. In the more difficult levels, such as the one where you are being chased by a giant avalanche and if you make one wrong move you're toast, there are more checkpoints. Even the boss levels have checkpoints at numerous intervals throughout the battle. Passing through the general area of a checkpoint turns it on, which is a plus because the player does not have to go out of their way to activate a checkpoint after having worked so hard to get there. Finishing a level gives the player a great sense of accomplishment, but as a player progresses through the levels and the levels get more and more difficult, just getting to the next checkpoint becomes a major accomplishment. ===Weak Examples=== ====The Castlevania Adventure==== As you progress through a level in The Castlevania Adventure, the game automatically adds one of two checkpoints for you to respawn at after you die. However, the user isn't informed when this occurs therefore making this game a weak example of "checkpoints." ====World Of Warcraft==== World of Warcraft is a MMORPG. In World of Warcraft there does not exist a specific save point (since there is no saving), however the game does feature many towns in which the player can access their banks, buy supplies and receive mail. Within these towns are innn in which the player can receive 'rested' experience while not playing, if their character was there when they logged out. Finally one town may be picked to be the players home which they can 'hearth' (instantly teleport to) when they decide to. For these reasons World of Warcraft is a weak example of Checkpoints. ====R-Type==== As the player progresses through the level, their progress is tracked by the computer. If they are destroyed they are respawned in a location around the place of their death, normally at the beginning of a wave of opponents or an obsticle. This is a weak example because there is no indication by the game that a checkpoint has been reached or that there even are checkpoints, as the respawn locations seem to change from game to game. ====Mega Man==== In the Mega Man series, a player is respawned at certain checkpoints when he/she dies after he/she passes the checkpoint spot in a given level. However, this is a weak example of a checkpoint as the game itself does not tell a player if he/she has come to a checkpoint, and he/she will only know where a checkpoint is in a given level if he/she has been respawned at the checkpoint before. ====Mario Party==== Mario Party is a weak example incorporating checkpoints into a gameplay as there are no checkpoints reached or utilized, the game is simply played on a game board and progresses with each players turn and subsequent play in mini games until the eventual "superstar" is determined. ====Final Fantasy: Crystal Chronicles==== FF:CC shows poor a poor example of a checkpoint. When players enter a level, they either die and are returned to the beginning of that level or they pass the boss and move on to the world map. You always start from the beginning of the level if you die, no matter where you are in the level. However, when you reach the boss, you are able to refight the boss if you keep dying. ====Super Mario Bros==== As you move along in the certain levels, there are no significant signals of checkpoints. As you are about half way through the level, you are automatically given a checkpoint. If you die before completing the level, you are then able to resume halfway through instead of at the beginning. ====Oddworld: Abe's Exoddus==== The player can at any time to use the "Quicksave" option from the menu that essentially creates a checkpoint wherever they are in the game at the time--if the player loses a chance, they will then restart at the point where they last used Quicksave rather than all the way back at the beginning of the level. This is a weak example because the checkpoints are determined on the spot by the player rather than having been predetermined by the game designer, but the option still operates on the same idea as predetermined checkpoints. ====Tekken 5==== There are no real checkpoints in the main game because when a character dies during the arcade mode, they are just prompted to press start before the timer runs out and that person has another go at the stage where they died on. These "Continue?" screens are not a checkpoint because they can appear anywhere along the way in arcade mode and not in specific locations as there are no real locations in the game. ====NHL 2003==== There are no real checkpoints in this game. There is nothing you pick up that saves your spot or anything like that. The only supposed checkpoints is when you finish a game it is saved onto your season, but I don't think this is considered a real checkpoint. Other than finishing a game and saving it, there are no checkpoints in the video game NHL 2003. ====Counter Strike==== There are no checkpoints in this game. It is either you get killed by the other team or you defeat the other team. Then the same level starts over and you do the same thing. There is no game progression in this game so there is no checkpoints because there is nothing to save or move onto in this game. There is no ultimate goal except to defeat the other team in the five or so minutes you play the game. Then the game starts over so there are no checkpoints. ====Halo==== In the first-person shooter Halo, there is a mechanism wherein the game automatically saves at certain points. This auto-save feature is used as the default re-starting point if the player where to lose. This is considered a weak example because the player has the choice of restarting at the last auto-save or at some other previously saved game. It is a form of checkpoint that can be used across different gameplay sessions as opposed to within a single session. ===Game Ontology Relations=== ====Parent==== *[[Gameworld Rules]] ====Children==== None a2cf84dcf679b76a79ced9d01424babe16a177f0 0 119 119 2008-12-18T21:03:40Z Jp 0 6 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Closed cycle haptic devices take input from users and provide output within the same device. These devices vary in complexity, force feedback on steering wheels and joysticks being simple examples, research grade devices used to interact with virtual objects by touch with six degrees of freedom being a complex example. Complex closed-cycle haptic devices are rarely used in games, largely due to the expense. A notable exception is Haptic Battle Pong, a tennis game developed by computer science researchers at Stanford [Morris and Joshi, 2004]. Haptic Battle Pong uses a Phantom, a haptic device by SensAble Technologies to receive players' raquet swings. The Phantom also provides tactile feedback as the player hits the ball, fires weapons at another player, or is struck by weapons, all with six degrees of freedom. ---- ====Parent==== *[[Haptic Display]] ---- ====Children==== None ---- ====References==== Morris, D. and Joshi, N. (2004). Haptic Battle Pong. Stanford University. 14f95048933bb6131bd98268613ac338ff9723a5 0 120 120 2008-12-18T21:03:57Z Jp 0 4 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Goals]] Collectables are entities that are placed within a game world that do not provide in-game benefits to the player when found or earned. (such as additional score, lives, etc.). They have no instrinsic value within the game but are extrinsically interesting to the player. (for aesthetic and/or showoff value) This is not the same as objects that are collected but do serve a purpose within the game. For example, collecting shines in Super Mario Sunshine allows the player to obtain access to previously unavailable areas of the game. They refer to objects that have no real gameplay value. ==Examples== ===Strong Examples=== ====Legend of Zelda:Link's Awakening==== In The Legend of Zelda: Links Awakening, the player character meets a photographer. In certain specific locations in the game the photographer makes an appearance and takes a picture of the player character. These pictures are kept in an album where they may be perused by the player. They are completely unnecessary in order to finish the game. ====Shenmue==== In Shenmue, the player can spend money to get a random egg from a machine. Inside each egg is a miniature action figure. There is a set of these figures that can be collected. ====Castlevania:Harmony of Dissonance==== In Castlevania: Harmony of Dissonance, the player may collect various pieces of furniture scattered around the castle and deposit them in a blank room set up for that purpose. Collecting all the furniture gives nothing but a tastefully decorated room when finished, and has no bearing on the rest of the quest. ===Weak Examples=== ====Maximo==== In Maximo, the player can, at certain locations in certain levels, buy a new pair of boxer shorts. The boxer shorts come in different designs and the player can only possess one pair at a time. This is a weak example because the player cant have more than one pair of boxer shorts. However, the shorts are completely inconsequential to the completion of the game. It is also interesting to note that in the sequel to Maximo (Maximo 2: Army of Zin), the player can also change boxer shorts but this time they confer special abilities. Thus, in Maximo 2 the boxer shorts are no longer considered Collectables. ====Earthbound==== In Earthbound there are a few worthless objects that do nothing when used, such as the Ruler and Protractor, which when used in battle simply give the message "*character* can now find the length/angle of things easily!" and waste a turn. They can be sold, thus giving them a slight value in the game world and making this a weak example, but not for much. Another candidate is the Insignificant Item, which while doing nothing by itself can be given away to get a relatively useful item in return. The object holds no value by itself, but since it can be used to get something useful does not really count as a Collectible. ---- ==Parent== *[[Optional Goals]] ---- ==Children== None 52466260b0e340683259ed8262d46ba7d28ad34d 0 121 121 2008-12-18T21:03:57Z Jp 0 8 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] The player is directly and immediately aware of all the information that is relevant to make decisions or choices within the game. The only aspects which may be unknown are those that are dependent on chance or on the decisions of other players. ==Examples== ===Strong Examples=== ====Chess==== In the board game Chess, each player is aware of the exact location of all the pieces on the board. ====PacMan==== In PacMan, the player can see the entire maze, the location of all the enemy ghosts, his current score, the location of all the dots that still need to be eaten. There is no information relevant to making decisions that is obscured from his view. ====Fire Emblem: The Sacred Stones==== In Fire Emblem: The Sacred Stones, the player may examine the full stats and equipments of all units on the field, be they ally or enemy. Before each player-made attack, the game also displays the probabilities of the outcome of the battle, although these all operate on a strict set of formulae that the player may infer if they know how it functions. ===Weak Example=== ====Advance Wars==== In ''Advance Wars'' the game can be played with or without fog of war--a feature prominent in RTS's which obscures Complete Information. ---- ==Parent== *[[Rules Synergies]] ---- ==Children== None ebbd4faf7196767d68b1fa32cf4026eea2cf1e83 0 122 122 2008-12-18T21:03:57Z Jp 0 7 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Entity Manipulation]] Compound actions are multiple entity-manipulations perceived to be a single action. Compound actions are often triggered by a single player input (ie, one button press). From that input, several entity manipulations occur, causing one distinguishable action. See children for examples. ---- ====Parent==== *[[Entity Manipulation]] ---- ====Children==== *[[To Manage Resources]] *[[To Shoot]] *[[To Transport]] fc9ea93addd4366abc2a3fe5a2481455a65fd381 0 123 123 2009-08-15T15:25:36Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Confirmatory feedback lets players know they have done something that has influenced the game's state. When a player removes a game entity, that entity's disappearance from the game's presentation is confirmation that the entity has been removed. Typically, any entity manipulation that players perform, whether to entities directly within their control or indirectly through entities they control, will be followed by some kind of confirmation of that action in the game's presentation. ==Examples== ===Strong examples=== Legend of Zelda: The Wind Waker [Aonuma, 2002] plays an audible "puzzle solved" tune when players solve puzzles barring their progress, such as when bombing open a hidden cave. ====Super Mario Bros.==== Super Mario Bros. [Miyamoto, 1985] informs players when they have collected coins by playing a "coin collected" sound, removing collected coins from the representation of the game world, and increasing the count of coins in the coin counter in the game's head up display. ====Doom==== Doom [Carmack, 1993] lets players know when they have killed an enemy by playing an audible scream (or monsterly approximation thereof) and having the killed entity's visual representation fall to the ground. When players hear an enemy's final scream and see it fall to the ground, they know it's safe to ignore that fallen enemy and move on to other foes. ====Oddworld: Abe's Exodus==== Oddworld: Abe's Exodus [Lanning, 1998] lets players know when other Mudokons have heard Abe's speech by having them respond appropriately with words or actions; they might respond 'hello' to Abe's greeting of 'hi', or reply 'okay' and begin to walk if Abe commands 'follow me'. ====The Legend of Zelda: Ocarina of Time==== In The Legend of Zelda: Ocarina of Time [Miyamoto, 1998], the Rumble Pack (plug behind the gamepad) is used to inform the player on hidden caves under his feet. When the gamepad rumbles, the player knows he has to bomb the ground to find the hidden cave. ---- ==Parent== *[[Feedback]] ---- ==Children== None ---- ==References== Aonuma, E. (2002). The Legend of Zelda: The Wind Waker. Nintendo, gamecube edition. Carmack, J. (1993). Doom. id Software, dos edition. Miyamoto, S. (1985). Super Mario Bros. Nintendo, nintendo entertainment system edition. a9d4e17340579935c9558e76e0195123ddfd0c9f 0 124 124 2008-12-18T21:03:57Z Jp 0 3 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Some games allow the bindings of their input controls to change according to context (ie, when monsters are about the "a" button means attack, when friendly people are about, "a" means talk). Games that allow buttons' meanings to change according to context sometimes provide information in the head up display to clarify what the controller buttons do at that moment in the game. ==Examples== ====Strong example==== In The Legend of Zelda: Ocarina of Time [Nintendo, 1998], the meaning of the "a" and "b" buttons varies according to the player character's surroundings. In order to make clear to players what these buttons do at any given moment, the game provides a graphical representation of the game pad with text overlays indicating what these buttons will do given the current circumstances. ==Relations with other elements of the Ontology== ====Part-Of==== *[[Head Up Display]] ==References== Nintendo, developer (1998). The Legend of Zelda: Ocarina of Time. Nintendo, nintendo 64 edition. b986dd7400b2ed4caf85ad5f70b22a565210c275 0 189 189 2008-12-18T21:03:58Z Jp 0 16 revision(s) wikitext text/x-wiki [[Category:Proposal]] {{proposal}} In a cooperative game there are two or more players whose interests are “neither completely opposed nor completely coincident” (Nash, 2002). In cooperative games, opportunities exist for players to work together to achieve a win-win condition. A cooperative game does not always guarantee that cooperating players will benefit equally or even benefit at all. This is different from a [[Collaborative Multiplayer]] game where player interests are completely coincident. == Examples == ===Strong Examples=== ====Gauntlet==== The video game Gauntlet allows players to play the game in a cooperative multiplayer mode where both players are on screen fighting enemies but they do not harm each other nor directly help each other. The only help one player can give to another is to kill the monsters that might damage the player so they are in a sense moving through the level together but stay separate in contact. Players can pick up food and items, but they are not shared in any way. ===Weak Example=== ====Dance Dance Revolution Series==== In the two player option of the DDR series, both players "dance" to a song together, but neither player benefits from the other player's efficiency (or inefficiency) with the song. Even if one player cannot do the correct dance steps to a song and fails, it does not technically affect the other player's gameplay. In situations such as these, a player can pull a failed player through to the end of a song by not failing themselves; therefore achieving a win-win condition. Due to the lack of interaction between the players, this is considered a weak example. ====Super Smash Bros==== In both Super Smash Bros and Super Smash Bros Melee, it is possible to set up team battles where a team of characters sharing similar color pallettes battle against a team of opponents sharing a different color scheme. Similar colored characters are unable to harm each other. This is a weak example because the Super Smash Bros series is centered around player vs player conflicts. Furthermore it is possible to turn off immunity to team attacks, making it more difficult for teams to work together effectively. ---- ==Parent== *[[Multiplayer]] ---- ==Children== ---- ==References== Nash, J. (2002). Two-person cooperative games. In H.W. Kuhn& S. Nasar (Eds.), The essential John Nash (pp. 99-114). Princeton, NJ: Princeton University Press. 366246462b67fccf1a4d5b046f6dcf92e2d32d10 0 125 125 2008-12-18T21:04:01Z Jp 0 36 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] In some games the existence of some entities in the gameworld may be determined by the field-of-view of the player. Whenever an entity leaves the players field of view it is removed automatically from the world. We call this cropping in analogy to the process in which parts of a photograph are eliminated. Cropping is typically seen in shooter games where the players bullets/laser beams/etc are removed from the gameworld once they reach the edge of the screen. It is thus impossible, when this sort of cropping occurs, for the player to hit enemy entities that are off-screen. ====Weak Example==== Grand Theft Auto: San Andreas - In this game, pedestrians in the city only exist within the field of view. This can be easily noticed if the camera angle changes suddenly, and pedestrians that were walking on the street are gone, or have been joined by a number of other pedestrians. ---- ====Parent==== *[[Gameworld Rules]] ---- ====Children==== None fabb8fe181f4d5b066264ea38f6bee8a2d72a24c 0 190 190 2008-12-18T21:04:01Z Jp 0 1 revision(s) wikitext text/x-wiki {{proposal}} [[Category: Proposal]] Customizations via Game Menu are usually made through the Options menu or a similar interface structure, not performed where the game action takes place. ==Examples== ====Strong example==== In The Sims [Maxis, 2000], for Windows PC, the player can define his sim's name, zodiacal sign, personality traits and appearance, selecting from several attributes that will constitute that character. This customization is done through a menu, before the actual gameplay starts. ==Relations with other elements of the Ontology== ====Parent==== *[[To Customize]] ==References== Maxis, developer (2000). The Sims. Electronic Arts, Windows PC edition. 1fe2dbb1127535bdadb4bada0bc4081d7370c537 0 191 191 2009-08-19T22:16:16Z Jp 0 wikitext text/x-wiki {{proposal}} [[Category: Proposal]] A data structure is the term in computer science used to describe methods of storing and accessing data on a computer. This is important to game design because the nature of a data structure affects the kinds of gameplay we are likely to create. The design of games old and new are affected by the available data structures. ==Examples== ====Strong example==== Early shooting games from Space Invaders to Galaga limit both the number of enemies onscreen, and the player's shots onscreen. This reflects a simple data structure design, where memory is not dynamically allocated to account for arbitrary amounts of enemies or shots; instead, the programmers and designers agreed to limit these values to a constant maximum, easing the programming process. Consequently those early games are about both dodging enemy fire and making quick, accurate shots. Later games, such as 1942 and Gradius, maintain (seemingly) any number of enemies or shots onscreen. The shmup gameplay gradually changed; larger bullet streams formed their own patterns, and in most shmup games from that point onward, the player was usually guaranteed survival by their dodging skill alone, rather than by a mix of both dodging and shooting. The first "Super Mario Bros." game only allows the player to scroll the screen in one direction; additionally, enemies and objects that are offscreen, with few exceptions, do not exist until the game scrolls onto them. This happens because the game is only storing in memory the data for one screen of gameplay at any given time; to go backwards in the level, or to apply the game's rules to offscreen enemies, would require the game to remember the state of the entire level. ====Weak example==== Classic board games like Go and Chess use data structures which are easy both to create physical pieces for, and for humans to understand. They only use a few "types" of game piece, and relatively small board sizes (8x8 in Chess, 19x19 in Go). They are "low resolution" compared to what a computer can simulate. ==Relations with other elements of the Ontology== ====Parent==== *[[Name of the Parent Category]] ====Children==== *[[Name of Children Categories (if any)]] ==References== Taito Corporation, 1978, Space Invaders Namco inc., 1981, Galaga Capcom Co., ltd., 1984, 1942 Nintendo inc., 1986, Super Mario Bros. 2a71c0c7888a29a5eb10c679d87cb406bd68fe42 0 126 126 2011-12-20T02:14:09Z Jp 0 Protected "[[Difficulty Levels]]" [edit=sysop:move=sysop] [cascading] wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] Some games allow the player to select the degree of challenge he or she wishes to face while playing the game. This is generally called the difficulty level. The difficulty levels that can be chosen are usually described using words such as: easy, normal, hard, novice, expert. Difficulty levels are expected to be monotonically increasing. In other words, the difficulty levels can be ranked in order of increasing challenge. Different games take different approaches to regulating the level of challenge that the player faces. These can usually take two forms, limiting the resources available to the player or increasing the challenges the player must face. For example, increasing the number of enemy entities on screen would increase the difficulty. == Examples == ===Strong Examples=== ====Street Fighter III: Third Strike==== In Street Fighter III, the player can adjust the difficulty of the single player "arcade" mode by sliding a "Diffuculty" setting from within the options menu. Fewer stars in the bar signals an easier mode, while more stars indicate a more difficult one. It should be noted that SF III gets exponentially more difficult as the slider moves up. The first level is hard, the second is harder, and the third is impossible. It has about thirty beyond this. ====Tetris==== Tetris features the typical selection of difficulty levels before the player even begins the game. But difficulty also increases within each selected difficulty level. Regardless of the level, the player still faces increasing difficulty within that level. As the player continues to play, the game will speed up the rate at which the blocks fall as the player completes each numerical level. This maintains the challenge of the game and keeps players on their toes. ====Guitar Hero==== In Guitar Hero you are given the option of choosing between four difficulties. You can play the game through on Easy, Medium, Hard, and Expert. Based on your choice you will have a different amount of notes and a different amount of frets you have to play. Within each game difficulty, songs will still become progressively more difficult but comparing one song on all the settings it is clear what the difference in difficulty is. ====Resident Evil 2==== In Resident Evil 2 there are at least two difficulty levels. Initially there was just an easy and hard, but with the later version an easier Rookie mode was added. In this mode you could get a rocket launcher with infinite ammmo from the start of the game. There are distinct differences in difficulty in the different levels. ====Gears of War==== In Gears of War for the XBox 360, the player can choose at the beginning of any game session. The difficulties from easiest to hardest are Casual, Hardcore, and Insane. As the difficulty is increased, the enemies are tougher to kill and the player dies faster. ====Madden 2007==== In Madden 2007 there are four different difficutly settings, Rookie, Pro, All-Pro, and All-Madden. Each difficulty is significantly harder than the previous one, with All-Madden being the hardest. Although all the difficulty settings are progressively harder than the previous one, the difference between All-Pro and All-Madden is very noticeable. It is much faster and it is much harder to run the ball, read pass coverage, and even play defense. The difficulty settings make it easier for people who are not as good as others and it makes the game more enjoyabke for them becasue the game is not too hard fro their skill level. ====Marathon Infinity==== Difficulty levels range from Kindergarten to Total Carnage. Changing the level changes what class of enemy the player will enconter during play. The enemy will be the sametype with the same basic abilities, but there color will change, how much damage they give and recieve, and how accurate and frequent their projectile attacks are. The most difficult enemies often have heat sinking projectiles, and the easiest enemies only have melee attack. The difficulty of puzzels in the game stays incredibly difficult no matter what level is set. ====God of War==== God of War provides the player with the option to choose what level of difficulty the game play will have. The game has the option to choose from mortal, hero, Spartan, and god difficulties listed in order from easiest to hardest (with the god difficulty only being an option when the player beats the game on one of the three other difficulties). ====Valkyrie Profile: Lenneth==== Valkyrie Profile Lenneth allows you to choose a difficulty between Easy, Normal, and Hard. The difficulty changes the values of many aspects in the game such as, amount of exp, amount of characters, number of dungeons, possible endings, and so on. ===Weak Examples=== ====Super Smash Bros. Melee==== In smash bros. you can choose the difficulty in either the classic, adventure or all-star mode. The difficulties range from very easy to very hard. The reason this is a weak example is because the difficulty change only effects the AI and not the level itself. When you turn the difficulty to very easy the cpu controlled characters basically just walk up and let you hit them, but the level doesn't change and the number of cpu characters stays the same. ====Nexus TK: the Kingdom of the Winds==== Nexus TK, The Kingdom of the Winds is a poor example of a game with settable Difficulty Levels. Provided by Kru Games, Nexus TK is an MMORPG, and thus does not have actual settable levels of difficulty that the player can access. What it does provide however, for the player, is a wide variety of areas that the player can engage enemies in. This provides the player with a choice of easy or hard caves, caves with high numbers of easy to kill monsters or low numbers of harder to kill (and more experience giving) monsters, but does not provide the player with settable difficulty levels per se. ====Shadow of the Colossus==== This game features different difficulty levels. However, these (hard and time-attack) only become available once you completed the game once. Since the difficulty levels aren't immediately available, we consider this a weak example. ====EverQuest==== This is a weak example of difficulty levels because they are so limited. The game world is enormous but there are only a select few zones, maybe 20/400, where a player can select or Normal or Hard mode for a dungeon. ---- ==Parent== *[[Player Manipulable Rules]] ---- ==Children== None 4496d7aa4330a8914cac4706964c5ab2dd3b1a11 0 127 127 2008-12-18T21:04:04Z Jp 0 6 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Digital pushbuttons create and send on a value from a set of two possibilities, on or off, depending upon whether the button is being pressed or not. ---- ====Parent==== *[[Input Devices]] ---- ====Children==== None 0de13c24598f51d99f8745440b25353babecf4a2 0 128 128 2008-12-18T21:04:05Z Jp 0 9 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] The specific hardware implementation of a direction pad can vary. One common approach is to make the direction pad a plus-shaped piece floating on a set of digital pushbuttons. Pressing one of the four cardinal directions on the plus depresses the button underneath (up, down, left, right), pressing a diagonal direction depresses two buttons (down and right, or up and left for example). Whatever the specific hardware implementation, the input is used in a similar manner to that of a four way joystick, to move a character, cursor, highlight an option in a menu, or the like. ===Strong Example=== The Sega Genesis controller possesses the D-Pad and utilizes the cardinal directions as well as the diagonal directional capabilities in a variety of its games, including '''Toejam and Earl''' ===Weak Example=== The Sony PSP has a kind of multi-directional pad that acts as a combination of a control stick and a Directional pad in which you push it in the direction you wish to go, but not in just the standard 8 directions. ---- ==Parent== *[[Input Devices]] ---- ==Children== None df0791373cc67a7080225aadfd07fcf6b5dddfeb 0 129 129 2008-12-18T21:04:06Z Jp 0 28 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] A dominant strategy is one that surpasses all others by being the players best choice under any circumstances. (Rollings and Adams 2003) The appearance of a dominant strategy is usually a bad thing, since it implies the existence of a way to play the game that will always lead to victory. Successful use of a dominant strategy is usually largely independent of the players skill or luck. ---- ==Examples== ===Strong Examples=== ====Golden Eye==== When playing virtually any multiplayer level in Golden Eye with proximity mines and License to Kill (One shot and your dead), a player can memorize and strategically place mines at the spawning locations for an almost guaranteed victory. The only requirement before hand is to kill your opponent at least once so that you can trigger an endless cycle of deaths that your opponent will be unable to contest through normal game settings. ====Warcraft 3: TFT==== In an online multiplayer match of WC3: If playing the Undead race more or less requires you to select the Deathknight and crypt fiends for your starting units and for most of the game. The reason being that the alternative, Ghouls have such low health that they usually fall quickly and easily to Area of Affect (AOE) spells. ====Pokemon (Red and Blue) ==== In the original Red and Blue versions of ''Pokemon'' tournaments were dominated by Psychic type pokemon because they had no real weaknesses and several of the most powerful attacks in the game. Similarly, a strong psychic type could easily allow a player to beat the game without raising other pokemon. ====The Sims 2==== After playing this game for a while, it becomes very clear and easy to make your sims succeed in any career by taking a few days to build your skills before applying for a job. It also becomes easy to figure out which objects satisfy their needs the quickest and most economically. Because of the emerging dominant strategies in this game, the seemingly endless game world becomes dull and boredom causes a sort of game exhaustion. ===Weak Examples=== ====Star Craft==== For Protoss in Starcraft their is one strategy that many players fear, and that is Mass Carriers. A Carrier with its carrying capacity increased can hold up to 8 interceptors. If you get a command group of 12 Carriers it becomes 96 interceptors, and interceptors rarely die. The reason that it is a weak example is that their are still counters to Mass Carriers, and if a player can only go Mass Carriers it is very likely that a more skilled opponent will defeat them before they gather enough resources to even attempt mass Carriers ====Guild Wars==== Throughout the history of Guild Wars, spiking has been the dominant strategy for forcing kills in PvP. Spiking is a process where several characters focus a large packet of damage onto a single target in as small a window as possible in an attempt to kill them before the enemy healers can react. It did ignore many of the game mechanics that keep players alive (healing and non-passive protection), which made it the single most attractive option. However, their are now skills and abilities that, if a team is prepared spiking becomes less of a problem. While it is still possible to spike an opponent, if the opposing team has any way of countering a spike then a purely spiking team is doomed. ====Kingdom Hearts II==== This is a very weak example of dominant strategy because, to the unskilled player, it is rather feasible if not easy to spend the game just plowing through, killing everything in sight and following the commands on screen, even though to a more skilled player, there are a plethora of other ways to improve the power of the characters leading to the final battle. Another element of its weak exemplification of dominant strategy is combat itself. One can simply aim and rapidly press X for the majority of the game with no change in strategy and will defeat a massive number of enemies. ====Street Fighter II Series==== In any Street Fighter II game preceding Super Street Fighter II Turbo: Grand Master Challenge and after choosing Ryu or Ken, the player should always use the “Shoryuken” attack against aggressive, jumping opponents. The Shoryuken is a spiraling punch moving at an upward arcing motion, executed by pressing forward, down, down-forward and any punch button. This move is invincible during the initial upward movement, making it ideal against jumpers. However, it leaves the player defenseless and open to attack during the falling phase. ==Parent== *[[Rules Synergies]] -- ==Children== None ---- ==References== Rollings, A. and E. Adams (2003). Andrew Rollings and Ernest Adams on Game Design. Indianapolis, IN, New Riders Publishing. afafc479f23f538411e7d101d484a2bcbd20ff1f 0 130 130 2008-12-18T21:04:07Z Jp 0 20 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] In a game with dynamic difficulty adjustment, the level of difficulty (or challenge) the the player faces is modified during the gameplay experience depending on the players personal ability. If the players abilities are very high, the game will become increasingly harder, or easier if the players abilities are not very high. DDA can be technically resolved in many different ways, in particular since the definition of success varies from game to game. This concept is also known as ''Adaptive Difficulty''. Existence of this DDA implies that there is some way of keeping track of the degree of success a player is having with a game. These can be multivariate and include parameters such as time taken to complete a level, number of lives lost, etc. The difficulty can be adjusted by modifying things such as making enemy entities more/less impervious to damage, adjusting the damage inflicted by weapons, altering the sequence/number of game levels, providing additional feedback to alert the player, etc. In game design terms, dynamic difficulty is useful in ensuring that each player has a game-playing experience that is tailored to his or her skills and abilities. This is often referred to as the sweet spot where a game is neither too easy so as to be boring or too hard so as to be frustrating. In some games, particularly racing games, dynamic difficulty adjustment is used to keep things competitive. If the player falls too far behind, the AI-controlled cars will often slow down noticeable to allow the player a chance to catch up. If the player is too far ahead, AI cars will sometimes "teleport" forward. In the context of racing games, dynamic difficulty adjustment is often referred to as ''rubber-banding'', because the idea is that the group of vehicles racing should stay pretty close together. Any car that deviates from that, "stretches" the rubber-band, and is either "forced" back, or the other vehicles speed forward. Dynamic difficulty adjustment does not refer to the learning process a player might go through wherein he becomes better at playing a game. In this case, the difficulty of a game has changed with respect to the player, but the game itself remains the same. ---- ==Examples== ===Strong Example=== ====Max Payne==== In the first person shooter Max Payne, a system was implemented that explicitly measured the degree of success a player was having with the game. Amongst other things, it automatically adjusts the strength of the enemies and the amount of auto-aim assistance based on the players performance. The adjustment of the difficulty is transparent to the player.\ ===Weak Examples=== ====Crash Bandicoot==== In Crash Bandicoot a player is awarded by the sudden appearance of Tiki masks if the player fails to clear a certain section too many times in a row. A Tiki mask is basically a shield that allows the player to take damage (once) without losing a chance. This is considered a weak example because the help the player received is extremely overt as well as applying only to certain specific challenges the player may be facing. This would be in opposition of facing a general change in the amount of challenge. ====Crimson Skies (PC)==== In Crimson Skies (PC), players are given the option to skip a mission after three failed attempts. This is a weak example because the difficulty of the game is not adjusted, but in the overall context of the game the player is allowed to proceed as if a certain challenge had been met. ====Final Fantasy Tactics==== In Final Fantasy Tactics, a player earns experience points from attacking/killing enemies and successively levels. In accordance with the player's level, the enemy monsters also level to compensate despite whether you are in the first area of the game or the last area of the game. This is a weak example because this kind of level adjustment has absolutely no relationship to the player's skill level; instead it is a gauge to ensure the game is always challenging regardless of whether it is too difficult or not. ---- ==Parent== *[[Rules Synergies]] ---- ==Children== None a3ab884f1ed77c118cd0d8807636b6db6175e9cb 0 22 22 2008-12-18T20:45:58Z Jp 0 11 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] The value of new elements is greater if you already have some of the same type. (Alternately, the cost of each new element decreases marginally the more elements you have). For example, in a fantasy-strategy game, if your magician units draw strength from each other, then the value of a new magician is greater if you already have many others. (Rollings and Morris 2000). In Monopoly, there is an economy of scale in having two properties from the same group color (Boardwalk and Park Place, or Connecticut, Vermont and Oriental Avenues) because the owner can charge double rent for unimproved properties in that group. The opposite of an economy of scale is a diseconomy of scale. This occurs when the marginal cost of each new element increases the more elements you have. This would be the case if, for example, the magicians became weaker the more you had available or if you had to charge half-rent for unimproved properties in a group. ==Examples== ===Strong Examples=== ====Monopoly==== In Monopoly, there is an economy of scale in having two properties from the same group color (Boardwalk and Park Place, or Connecticut, Vermont and Oriental Avenues) because the owner can charge double rent for unimproved properties in that group. ====Civilization==== One must gain as much technology, land, and power as you are able, to achieve a definite advantage over other players. There are advantages in population, income, and trade by controlling more of the map. ====Star Craft==== Star Craft is a an example of an economy of scale. As you gather more resources, you are able to build more resource gathers thus increasing your rate of resource gathering. Also when you have enough resources you are even able to expand to one of the other resource nodes spread around the map in order to speed up resource gathering even faster. ===Weak examples=== ====Command and Conquer==== Red Alert 2 the prism towers rely on each other to channel an attack. For each prism tower there is the attack power is 2x stronger than before. ====Super Mario Bros. 3==== In SMB3 for the NES, there is a mini-game at the end of each level in which the player is awarded a mushroom, flower, or star. Once the player collects 3 of these awards, the player is awarded a life bonus. The quantity of the life bonus varies depending on the whether the awards match or not. Getting 3 stars is the best award, followed by 3 flowers, then 3 mushrooms, and a non-matching combination being the weakest. This is a weak example because it does not play an integral part in the game. ====Diablo II==== In Diablo II: Lord of Destruction for the PC, set items are an economy of scale. Set items provide additional bonuses when items of similar set are equipped. As a result, there is higher demand and value among traders for more complete item sets. ---- ====Parent==== *[[Rules Synergies]] ---- ====Children==== None ---- ====References==== Rollings, A. and D. Morris (2000). Game Architecture and Design. Scottsdale, Arizona, Coriolis. e256706ff5b702705ea4aeccf02201b6896b909f 0 23 23 2008-12-18T20:45:59Z Jp 0 9 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] This is a similar concept to that of [[Economies of Scale|economies of scale]]. The principal difference is that economies of scope involve the variety instead of the quantity of elements. In other words, there is an economy of scope if additional elements are continuously more useful the more you diversify. Typical examples can be seen in strategy games where it is useful to have armies that make use of combined arms (infantry units supported by tanks and artillery). (Rollings and Morris 2000). Other examples can be seen in games such as RPGs where characters with different abilities complement each other. A diseconomy of scope is when the opposite happens. For example, in many strategy games, groups of units move at the speed of the slowest element in them. In this case, fast units are less useful because they are in the same group as slow ones. '''Moderate Example''' In ''Pokemon'' it is advantageous to use several different types of pokemon so as not to have several weaknesses to a single type. However, some types of pokemon are weaker than others and your party is limited to six so only a certain amount of diversity can be attained. ---- ===Strong Examples=== ====Civilization IV==== Civ IV is a strong example because of the fact that in order to win a player has to take into account many different aspects of the game and find the balance between them. Players need to be able to make money, manage population, raise an army, research technologies, and be diplomic. Also the combat system is such that you want to have a balanced force, being that for every unit there is a counter. and not only do you want a balanced force but you need to balance its size, because there are some units that will do damage to every unit on a stack and not just the one that fights. ====Tales of Symphonia==== Tales of Symphonia displays a strong economy of scope because each of the fighters within the game in your party at one time each have a unique fighting style. In order to defeat any number of enemies, a certain combination of your party members would be most advantageous to fight specific monsters. For example, multiple characters can use magic, but each character uses a different type of magic, and so to have each character would be to be able to exploit any magic weakness in any enemy. Of the characters that do not use magic, they each have a unique fighting style; one character uses a sword with magic, another uses two swords for quick damage, one uses a gigantic axe for slow but massive damage, and the last character uses his feet for quick combo attacks. Each of these fighters employ very different fighting styles, but as the person playing the game can only have four players per fight, they must pick which of the eight are the best four suited to their current needs. But, overall, having all eight fighting styles within one's party insures that the player will be able to overcome any type of enemy he or she comes across. ====StarCraft==== StarCraft for the PC is a classic example of an economy of scope. There is great benefit to having diverse and balanced resources. Since the world is one of incomplete information, it's often very useful to be prepared for anything. This is why it is valuable to have units to protect against ground, air, mass, cloaking, etc. Dominant strategies require a variety of the infantry, healers, resource gatherers, spell casters, and siege units. Most entities complement each other in such a way that if you are lacking any of them, then you have a distinct weakness. In particular, players could take advantage of economies of scope by fielding groups with mixed abilities: for example 8 infantry (good at ranged combat) and 4 firebats (good at close quarters combat) instead of 12 plain infantry. In the expansion, which added medics, it was common to add a few to an existing group so that the medics would automatically heal the wounded members of the group while receiving protection from the soldiers. ===Weak Examples=== ===Parent=== *[[Rules Synergies]] ---- ====Children==== None ---- ====References==== Rollings, A. and D. Morris (2000). Game Architecture and Design. Scottsdale, Arizona, Coriolis. bbe2dd99d6bc5bf254fdec22aca9d943a9aefd08 0 24 24 2009-08-19T22:12:49Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Entity Manipulation]] Entity manipulation consists of altering the attributes or abilities of an entity in the game world. Abilities are the actions that entities are able to perform. They are the "verbs" of the game. Entities that cannot have any abilities are static entities. They usually serve as obstacles, platforms (in games with gravity), or items/collectables. Entities that can have bilities are dynamic entities. Abilities can be gained permanently (ie, gaining the speed boost in Super Metroid) or temporarily (ie, eating a super pellet gives Pac-man the ability to eat ghosts (removal)). Attributes are the properties of entities or abilities. They are the "adjectives" of entities or "adverbs" of abilities. Abilities alter the attributes of an entity or ability. For example, the ability to move changes the entity's location attribute. The ability to vary speed changes the velocity attribute of the movement ability. Attributes can also be altered permanently (ie, changing character statistics in an RPG) or temporarily (ie, receiving a power up that changes the power of a character's punch for a short period of time). Abilities can also alter the existance of an entity (can instantiate or destroy an entity). There are cases where the line between an ability and an attribute is fuzzy. For example, in Zelda: Wind Waker, when Link gains the bow, there is a definite change. It could be argued that the change is only an attribute of the ability "To Attack". In this case, the "Range" attribute of "To Attack" has been made broader (Link can now attack from farther away). On the flip side, it could be argued that Link now has the ability "To Attack from a Distance". In order to differentiate in cases such as this, it is important to more concretely distinguish between an ability and an attribute. The distinction is placed on how the the attribute/ability is utilized. If the attribute/ability is utilized through a player choice, then it is an ability. If it occurs automatically, without the player's decision, then it is an attribute. So, in our example, we would say that the bow bestows a new ability to Link, as the player must choose to use the bow over the other weapons. Again, abilities can change attributes. For example, in an RPG, if an entity can wear the "Ring of +5 Strength" (and thus, raises its strength attribute by 5), then the entity has the ability "To Change Strength". It is an ability because the player can choose to add/remove the ring from the entity, thereby changing the strength. This is opposed to the increase in strength that occurs from leveling, where the strength attribute is changed permanently. In that case, the player may choose to increase strength (as opposed to another attribute), but once the change has been made, the player cannot choose to not use the increased strength. ---- ===Children=== *[[Compound Action]] *[[To Collide]] *[[To Create]] *[[To Move]] *[[To Own]] *[[To Remove]] *[[To Rotate]] *[[To Select]] *[[To Manipulate Time]] *[[Gravity Manipulation|To Manipulate Gravity]] *[[To Customize]] 645acfa9075ea07691629fe2156d3e1f23cd14a3 0 25 25 2008-12-18T20:46:00Z Jp 0 4 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Some games allow players to program the entities under their control. The programming method can vary from a graphical approach, like in Swarm General [Lichti, 2004] or Carnage Heart [Iizuka, 1995] to a text-based code approach, as in Robocode [Nelson, 2001] or Core War [Dewdney, 1984]. While the exact implementation a game uses can vary, many such games separate entity programming and program execution. Players program their programmable entities at one time, the entities execute their programs "at" one another. (Robocode, Core War, and Carnage Heart frame entities' program execution in an arena setting. After players program their entities, they set those entities loose to fight other entities in an arena battle.) Alternatively, a game could allow players to program or reprogram entities on the fly, as in Swarm General. Some games that use menu driven or point and click interfaces allow players to string commands together into macros. Games typically use such macro capabilities to simplify performing complicated tasks that players must perform repeatedly. (Such capabilities are most common in massively multiplayer role playing games.) The distinction between entity programming and macro building is largely one of purpose. Macro languages exist for player convenience as a supplement to another manipulation method (point and click, menu interface, etc.). Entity programming refers to programming activity that isn't duplicated within the game through other manipulation methods. '''Strong example''' Robocode [Nelson, 2001] teaches players the basics of Java coding by allowing them to program battle tanks using the Java programming language. Players use Java routines to set the battle strategy for their robot tanks, programming the tank's default behavior and its response to various stimuli (getting scanned by radar, shot at, and the like). After players have programmed their tanks, they enter the arena to see who is the last robot standing. '''Strong example''' Core War [Dewdney, 1984] provides players the opportunity to code small programs that compete with one another, trying to erase one another from the memory of a virtual computer. Core warriors are created in redcode, a Core War specific language styled after assembly language, then released into a virtual computer core where they try to destroy one another. ---- ====Parent==== *[[Indirect Manipulation]] ---- ====Children==== None ---- ====References==== Dewdney, A. K. (1984). In the game called core war hostile programs engage in a battle of bits. Scientific American. 262(5), 14-22. Iizuka, M. (1995). Carnage Heart. Artdink, playstation edition. Lichti, N. (2004). Swarm general. Master's thesis, Georgia Institute of Technology, Atlanta. Nelson, M. (2001). Robocode. IBM. 661fb0cc960282d9da97be8ef25a2bb6bc5f529f 0 26 26 2009-08-19T22:16:35Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] Most games, once they have ended, perform some sort of evaluation of said ending. Usually, the reasons for it ending are implicit in the evaluation. For example, a game that ends because the player lost all of the lives available is implicitly deemed a failure or loss. On the other hand, a game that ends because the player reached all the goals is implicitly a success. Usually, the end of a game is determined to be either a win/success or a loss/failure. Winning is equated to fulfilling all the goals of the game or reaching the end. Losing, is the opposite of wining. However, some games, in particular multiplayer games, allow for different evaluations such as draw/tie which is neither a win nor a loss or a ranked list. A ranked list, usually seen in sports and racing games, is a list of all the participants and how well they did with regards to each other. This is not the same as a win/loss since, depending on the game, coming in 2nd place may still be enough to continue playing (or not). This can be especially confusing in games that are basically a series of smaller/shorter games. For example, individual basketball games that are part of a championship. Losing a particular game may not imply the loss of the championship (the overall goal). The evaluation of endings often helps bring emotional closure to game play investments. This is particularly true for role-playing games, where players begin to personally identify with their characters. ==Examples== ===Strong Examples=== ====Ancient Domains of Mystery==== In [http://www.adom.de/adom/download.php3 ADOM (Ancient Domains of Mystery)], characters require significant time to develop, and upon their death, players can review their character's a summary of their character's life achievements, including their score, the number of places they have visited, the monsters they have murdered, their alignment, etc. They are then listed on a high scores list. Players can then review the last messages, retelling the last events before their character died. A brief obituary of their character is posted next their score. Players can then walk through their character's inventory. They can view the hidden status of their character's special items, whether they are cursed or not, and the magical properties of unknown potions, rings, and wands. Finally, players are offered a memorial file for their character. All of these steps help the player come to terms with their character's death. It helps the players remember the lives of their characters. ===Weak Examples=== ====StarCraft==== In StarCraft for the PC, there are two outcomes per mission: Victory or Defeat. These have obvious values. However, players are also ranked according to score. A player's score is calculated on diverse factors such as units, structures, and resources. If you are playing a multiplayer game, your objective might be to achieve a high score. So in the instance that your team is defeated, you may still have a positive outcome if you achieve this alternative objective. However, this is a weak example because singleplayer strictly defines the objectives (you cannot continue otherwise). ====Guitar Hero==== When you complete a song you are given a score based on how many notes you hit, the type of notes hit, and the multiplier in effect when hitting these notes. Your performance is given a rating of 3, 4, or 5 stars depending on your score on the song but as long as you pass it the score you receive means nothing for the progression of the game. You do get paid more for a better rating which you can use to purchase bonus features but these features don't change the game other than some bonus songs. ====Bust a Move 4==== There is a score given at the end but it does not effect the end result really and there is no effect on the game other then bragging rights for the player. There is really little effect performance has on the end of the game, it mostly is just a final solution to having played through. ====Need For Speed: Carbon==== NFS:Carbon usually rates player's performance as losing/bronze/silver/gold. The rating is based on different factors, depending on the game mode. It might be speed, amount of skidding, average distance from the competitor, etc. Attaining a better rating will increase the monetary reward that a player receives and may unlock additional cars or accessories. ---- ==Parent== *[[Game Ends]] ---- ==Children== None d3832ba05a4f4d338e2f00f23664842dfd5de843 0 6 6 2009-08-19T22:15:28Z Jp 0 wikitext text/x-wiki This is an step-by-step example of how to propose a new ontology entry. Let's say you want to propose an entry called '''Foo'''. Well, one of the first things you need to do is determine where in the hierarchy this entry would go. In particular, whether '''Foo''' is a child of another, more abstract entry. Let's assume you've decided that '''Foo''' is a particular kind of '''Moo'''. In other words, you want to propose the entry '''Foo''' as a child of '''Moo'''. To properly propose the new entry: # Go to the page for '''Moo'''. You could find it using the search tool, or go directly to the URL which might look like this: <nowiki>http://www.gameontology.org/index.php/Moo</nowiki> # Scroll down to the header titled '''Children'''. You'll notice that on the right hand side there is a link that says '''[edit]'''. #Click on the edit link, it will take you to a new page where you can edit the content of that section (the list of children). #Add the child you wish to propose by adding the following:'''<nowiki>*[[Foo]]</nowiki>''' #*A few notes on Wiki formatting: #*#The '''<nowiki>*</nowiki>''' symbol is used to create a bullet point. #*#The "'''<nowiki>[[</nowiki>''' and '''<nowiki>]]</nowiki>''' are used to create links. Anything within them is a link to a page in the wiki with that name. So, if you write '''<nowiki>[[Test page]]</nowiki>''', you will create a link to a page called '''Test page'''. #After you have made the changes type a little summary of what you did in the '''summary''' space provided. #*For example: ''Added new child entry called Foo''. #Click on the '''Save page''' button. This will save the changes and take you back to the page you edited. #You will notice that there is a new link. If you click on it, you will go to the page for the new entry. It won't have any content. #Now you can add the text for each child. We recommend you try to follow the [http://www.gameontology.org/index.php/Ontology_Entry_Format template for ontology entries] #**You can then click on the '''edit''' button for this template, copy the text, paste it into the new child and then make the necessary changes. #Since you are proposing new entries, don't forget to add the following text in the description of the new entry: '''<nowiki>{{proposal}}</nowiki>'''. #*Adding this will automatically include the '''proposed''' template. #**We use a few [http://www.gameontology.org/index.php/Available_templates different templates] to identity the status of different ontology entries. ==See Also== *[[A Model for New Entries|General Structure for Ontology Entries]] 14f705712ab1a84c0578062670bc0bb2d66c6c3c 0 27 27 2009-08-15T15:31:33Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] In many games there are entities whose existence in the gameworld is limited by time. These entities are removed automatically from the gameworld when their allotted lifespan is met. We call this expiration in order to differentiate it from removal (see [[Removal]]). Typical examples of entities that are expired include entities that convey temporal powers to the player and that are only available for a limited amount of time (power-ups), entities created by other entities (flames, bubbles, etc.), and entities that are no longer active in the world (corpses, debris). Removal implies an effect due to the activity of a player, player controlled-entity or an agent. Removal does not account for entities that cease to exist in the gameworld by themselves. We call this expiration due to the gameworld. ==Examples== ===Strong Examples=== ====Dead Rising==== In Dead Rising, the entire world (along with the player) expires after a certain length of time. This limit is imposed by the day/night cycle in the game world. The player has 72 game hours which are spent trying to further the story. The goal is that when the time limit expires, the player will have completed the necessary story elements to result in a victorious ending. ====Yoshi's Island DS==== In Yoshi's Island, Yoshi can turn into a mole-like digger that moves through and fits into places that Yoshi can't normally go. Yoshi must [[To Collide|collide]] with a bubble that has the digger symbol to transform into the digger. Once he is in this new form there is a specific time amount until the digger expires and Yoshi transforms into his original self. To become the digger again he must reach another bubble with the digger symbol. ====Bubble Bobble==== The dinosaurs of this game spit out bubbles to capture enemies and pop them to kill the enemies. However should the player never pop the bubbles they will expire after a period of time, either releasing whatever was captured, or simple bursting if they were empty. ===Weak Examples=== ====Super Mario World==== Super Mario World contains a number of puzzles which require the player to navigate platforms and other world entities within an alloted period of time. When the time expires, the entities are removed whether or not the player had yet reached the goal. In this example, we could argue that the gameworld has imposed a lifespan for all the entities in the world and when that time expires, they are removed. ====Frequency==== Once a note has passes the ship's capture bar, it is either captured by the player, or immediately destroyed because it was missed. This is a strong example of expiration because if the note is not hit at the exact moment that it is to be hit, it is removed automatically from the game world. This is a weak example because we could argue that the notes don't actually expire, they just exist in an inaccesible part of the gameworld. ==Parent== *[[Gameworld Rules]] ---- ==Children== None bb9c679ca183d8d2857f79f95b7126289dfbce57 0 186 186 2008-12-18T20:46:02Z Jp 0 4 revision(s) wikitext text/x-wiki {{proposal}} [[Category: Proposal]] Extra-game customizations are those achieved through the use of software or tools, provided or not by the developers of the game in question, external to the game itself. Those tools usually include, but are not limited to, level-editors, graphical editors and 3D modelling software. ==Examples== ====Strong example==== First-person shooter games such as Quake III: Arena [id Software, 1999], for Windows PC, usually attract communities of players devoted to the creation of new character models and textures (also known as 'skins'). Made with a variety of tools, those new elements are, later, incorporated into the game. ====Strong example==== The game Warcraft III [Blizzard Entertainment, 2002] has, included with the game, a world building program that allows users to customize considerably the play experience of the players. There are a multitude of these "custom games" and as with other games, these custom games attract a community of players. One of the main advantages of having this extra-game customization available is that, often times, the derived games are completely different from the original. ==Relations with other elements of the Ontology== ====Parent==== *[[To Customize]] ==References== id Software, developer (1999). Quake III: Arena. Activision, Windows PC edition. 93bc6abab4f2174d5c8cd918e3afc1307ec9c17d 0 28 28 2009-08-15T15:24:46Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] As the game's state changes, the game provides information on state changes to the player in the form of feedback through its visual, aural and tactile outputs. Presenting feedback to players allows them to structure their actions based on the game state moment to moment. This feedback can take many forms, typically falling in line with a presentational style the designers have chosen. Rather than focusing on specifics of feedback or trying to analyze the difference between using an audible alarm sound and using flashing red lights, we've chosen to focus on the functions such feedback serves. As noted previously, such feedback comes through the game's various output channels, in many cases over multiple channels at once. ---- ====Parent==== *[[Presentation Software]] ---- ====Children==== *[[Confirmation]] *[[Warning]] 9f0fdacbc02f6e9d3360712292a397f743573127 0 29 29 2008-12-18T20:46:02Z Jp 0 9 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] The game presents the world to the player as if the player is looking through the eyes of an in-game avatar. Under normal play circumstances, the player doesn't see this avatar, but receives information on the state of the game world and its residents through that unseen, implied avatar. This perspective often appears in games where the player is led to identify with a specific game entity, specifically, the character or entity in whose head the player resides. To this end, a first person camera view sometimes appears in games that use a predominantly second-person perspective, as a means of giving the player the occasional opportunity to see the game world "through the entity's own eyes." '''See also''' [[Locus of Manipulation]], [[Single Entity Manipulation]] '''Strong example''' In Halo 2, you look directly through your characters helmet. This includes seeing ammo, life, and grenade indicators. This is a strong example of First-person Point of View because their are only three occasions when you are not looking through your characters skull. The three occasions are when you die, when you man a turret, or when you are driving a vehicle. However, about 95% of the game is played through the first person mode where you can see your arms holding a gun, and your feet if you look down. Also, when you zoom in with a Sniper Rifle, you look through the scope of the weapon, which adds to this perspective. '''Strong example''' Unreal Tournament 2003 [Bleszinski, 2002] places the player view "within the head" of a player controlled entity. The player sees as this entity, his view of the game world moving with the entity's head. '''Strong example''' Rainbow six, the player is able to see in front of him but not behind without turning. The players view is restricted to the front where the character's eyes are looking. '''Strong example''' In Half-Life, your view is restricted to that of what you would see through the eyes of the main character, Gordon Freeman. You cannot escape what the game dictates as Gordon's peripheral vision. '''Weak example''' Black & White [Molyneux, 2001] depicts the game action from a first person god view. This perspective visually resembles a Third person perspective, but the hand has properties beyond those of a simple cursor. It acts as a part of the player avatar's body. It can be used to perform specific interactions with game characters and objects as a hand rather than as a cursor. For example, rather than simply selecting objects, players can use the hand to pick them up. Black and White's movement mechanics also reinforce the sense of divine embodiment by having players move themselves about the world by grasping hold of the landscape and pulling their implied divine mass through the game space. ---- ==Parent== *[[Point Of View]] ---- ==Children== None ---- ==References== Bleszinski, C. (2002). Unreal Tournament 2003. Infogrames, windows edition. Molyneux, P. (2001). Black & White. Electronic Arts, windows edition. bdef40c362b39fe339505989116505ab80f81972 0 30 30 2009-08-19T20:31:02Z RacolOcari 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] In contrast to thruster style joysticks, Four-way joysticks allow input over two orthogonal axes, rather than one. Similar to thruster joysticks, there are multiple approaches to implementing a joystick. One method is to provide a point value for each axis (x,y) within a bounded range. Another method is to provide a value for each axis reflecting the stick's displacement from a home position. ---- ====Parent==== *[[Input Devices]] ---- ====Children==== None 15673caffb2dc30f0c18bd60514c235f8b9005d1 0 2 2 2012-04-06T20:13:20Z Jp 0 /* Why are so many pages protected? */ wikitext text/x-wiki ==Is this approach the ideal/best/only ?== No. The Game Ontology project is an attempt at categorizing elements of gameplay. As with any schema for categorization, it is not the best and only way: categorization schemas are only so good as they help you do what you want. From this perspective, the current schema has proven useful to us in exploring different research questions. We are in no means bound by it. In fact, one the objectives for having the entire ontology on a wiki is to subject it to a larger community who may collaboratively help grow it into something that is useful to a greater community. ==Why the hierarchical approach?== Hierarchical approaches afford a natural way of navigating across varying levels of abstraction. When we identify specific concepts we wish to discuss, it makes sense for more concrete instances to be “under” the more abstract and encompassing definition. That way, by picking the appropriate level of abstraction, you can still carry out productive discussions. I guess you could say that the hierarchical approach scales well. ==Why is "Goals" a separate top-level element from "Rules"?== The primary distinction between [[Goals|goals]] and [[Rules|rules]] that led us to have goals as a top-level element was the fact that rules are enforced, while goals are not. In the general sense of the word, you can’t do things that are outside of the rules. They limit and regulate. Goals, on the other hand tend to be “softer”. They are guidelines of player activity and may regulate behavior but not action. Also, in terms of the literature on games, goals are generally considered separate of rules (in part because players tend to define their own goals). In this sense, goals as separate was a “comfortable” decision. ==Why the name "Entity Manipulation"?== We also think that the name is rather…hmm...uncomfortable. We're open to suggestions! We’ve debated using “verbs”…but never reached a consensus (probably because some of the entries don’t refer to verbs per se...). Why didn’t we go with the “nouns” instead? That’s an interesting question. We have considered another top-level called “Entities”. (referred to in one of the publications, but not included in the wiki). We haven’t had the time or the need to actually explore it and see what sorts of entries we’d need to define. We are, however, intrigued by the fact that this lack of definition hasn’t impeded the work we’ve done. Our gut feeling is that since entities and entity manipulation are so closely related, you can get by with defining only one side of that equation. The other is implicitly understood and referred to. So, we chose to favour “gameplay” in the sense of the actions that can be performed in a game (by the player or not). From this perspective, if you can perform the same actions with different objects, we can consider both objects essentially the same in terms of gameplay. ==Who do I contact about problems (posting, editing, changing preferences, etc.)?== If you have specific questions or issues about a particular entry, we recommend that you edit that entry´s discussion page. You can also contact any of the active project participants via their talk pages or through the e-mail option. ==Why are so many pages protected?== The Game Ontology Wiki suffered a pretty extensive attack from spammers which forced us to protect pages as they were attacked. In order to contain the damage, we began protecting pages. We've also been forced to change the site's policy to disallow anonymous editing, which means that we should be able to start un-protecting pages again. 0bf10231375c751d4cd97a2009565c6448fa526a 0 31 31 2009-08-15T15:22:02Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] Many games provide for ways in which players can determine if a game has ended or not. There are many different possibilities for determining that a certain game has ended such as the player successfully completing the games goals, the player exhausting his available lives or simply running out of time. We note that ending a game does not necessarily have to have a negative (or positive) connotation associated to it, it simply reflects the fact that the game has ended. In fact, once a game has ended, the way in which it ended is evaluated and determined to be either positive, negative or neutral. For example finishing the last level of a game like Super Mario World is generally considered winning, while losing all ones lives is considered losing. There are many different ways for a game to end, and in many cases it is possible for many of them to occur simultaneously. For example, a player may simultaneously reach the narrative conclusion of a game in parallel with the gameworld exhaustion. The last location visited may be tied to the end of the story, though this is not necessarily the case. ---- ==Examples== ===Strong Examples=== ====Super Metroid==== Super Metroid for the SNES has a very straightforeward and classic game ending. The quest for the entire game was to destroy the "mother brain", so once the player kills it, Samus (the charicter) places a bomb and the player must then escape the gameworld as quickly as possible by running out of the last bossfight room to the innitial game starting point, and escape in Samus's ship. The world explodes and the player is rewarded with a "Mission Complete" screen, and then the final credits. There is no more gameplay after this, and the player must load a save that is before the final boss to play anymore. ====Final Fantasy VI==== In Final Fantasy VI, the final boss fight is the epitome of a game ending. After defeating the last boss, Kefka, the player gets series of cutscenes of which lead the player to believe " everyone lived happily ever after." There are no chances to save after complete so the only way to play that game file is to load the game where you have not defeated the boss yet. There is no additional content past the last boss fight. ====Fifa Street 2==== Once the player successfully plays all the soccer matches and completes all the main objectives, his or her file is locked. The player can no longer access his or her file, because everything has been completed and there is nothing more to do, essentially the game is over. ====Texas Hold'em==== In Tournament style Texas Hold'em there is a definite endgame. Each player starts with a set amount of chips and as the tourney progresses players lose their chips to other players until there is only one person with all the players chips. This is when the game ends and the player with all the chips is proclaimed the winner. ====Zelda: Ocarina of Time==== In ''Zelda: Ocarina of Time'', there is an obvious ending of the game. It is directly represented by a final boss fight that the character has been working towards for the entire game. Once this is completed, the player views a final cut scene that freezes at a very familar point and ceases to respond to any type of player input. At this point there is a definite game end. The player can repeat this fight over and over again but will never get any further than that ending screen. ====Jak and Daxter==== In the Playstation 2 game ''Jak and Daxter'', there is a final boss, and once defeated, the player has no more to do in the game. If 100 Power Cells were obtained, there is an extra ending, but the player still does not have anything more to work towards in the game. ====DDR MAX==== ''DDRMax'' for Playstation 2 is a strong example of a game with a definite end. In game mode there are three songs the player must pass before receiving a high score. If the player fails one, the screen says game over and the game returns to the MODE SELECT screen. On the other hand, if a player passes all three songs of his or her choice, the player inputs their name for the high score table. After this, the player returns to MODE SELECT. Both of these endings are clear and certain. ====Super Mario Brothers 3==== Super Mario Brothers 3 is a game with many different rules to follow and different levels to pass. Once you have defeated all the adventures and obstacles put in your path throughout all the levels, the game is over and there is nothing else to achieve in the game. ====Counter Strike==== The game ends after all the players on one of the teams die. It is a very clear game ending because the game then starts over with all of the players once again. There is no reward or anything at the end of each gameplay, just the team that wins gets the feeling of accomplishment for defeating the other team. Counter Strike is a game where the game end is very clear and then the gameplay begins again. ====Phantasy Star IV==== This RPG is a strong example of a game ending. After the player progresses through the narrative storyline and defeats the final boss, the game ends. There are no more objectives for the player and the player can no longer save their game after defeating the final boss. ====Final Fantasy 9==== Final Fantasy 9 is a strong example of a game end. The story comes to a climax and the player fights a final boss, and then the credits roll and the "game over" screen is shown. There are no unlockables and no extra content at the end, when the game is finished the only thing left to do is to play through it again. ====Golden Eye 007 64==== Golden Eye for Nintendo 64 is a strong example of a game with clear game ending. The main character James Bond is only allowed a certain amount of damages before he perishes and he fails the mission. The game is clearly over when all missions have been successfully completed under each classification of agent and since levels are merely tasks that must be accomplished, game play becomes repetitive. ====F.E.A.R. (First Encounter Assault Recon)==== This game exhibits a narrative game ending which happens when you, as a F.E.A.R. Agent, find and exterminate the main villain. There are no extra game bonuses at the end of F.E.A.R., the storyline just ends. ===Weak Examples=== ====Saint's Row==== Saint's Row is a weak example of Game End. There are of course goals and objectives that allow a player to face challenge but once completed, nothing really happens. You see somewhat of a progression throughout the game but once the game is completed you are able to do more things. This game provides an open world where the player chooses to do anything the player wants. This game presents no real game ending. ====Pokemon==== The Pokemon series (excluding spin offs such as Pokemon Pinball, Pokemon Mystery Dungeon, Ranger etc…) is considered a weak example of a game end, as the main narrative story line encounters an ending, but the game play and the gameworld remains whole and very much playable. After the main storyline is completed players are then encouraged to explore the gameworld, which after narrative completion often has special features unlocked. Players may also continue training their pokemon, and as the catch phrase goes, "catch 'em all." in later games such as Pokemon Ruby/Sapphire/Crystal mini games, challenges, and features exist outside narrative and basic battle challenges allowing for further gameplay outside of the narrative. Examples include: secret bases, pokemon contests, berry collection, friend battling, and gambling. ====NBA Shootout 2005==== There is no way to truly beat this game entirely. You could win the championship but then you can play again with another team. Win a game but then you have to play another. There are so many things that you can do with this game there is never any clear ending that you are aiming for. Even when your character gathers enough points to be invited into the hall of fame you can still play games with him, nothing really stops. No clear ending makes the game a weak example of Game Ends. ====Pacman==== Pacman is a weak example of Game Ends because, althoug there is supposed to be an unlimited number of levels, there is a bug where the game continues past level 255 even though the maze isn't displayed properly on the screen. This makes it almost impossible to play. In this case, we could argue that by design Pac-Man doesn't end, but due to a technical problem, it does. ---- ===Parent=== *[[Gameplay Rules]] ---- ===Children=== *[[Evaluation of Ending]] *[[Gameworld Exhaustion]] *[[Narrative Exhaustion]] *[[Resource Exhaustion ]] e7efe4e42dfa80565f19eec4e156f0861063c804 0 32 32 2008-12-18T20:46:07Z Jp 0 27 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Goals]] Game goals are goals that are built into a game and communicated to a player as objectives that must be met in order to successfully complete or win the game. Some games have goals that must be determined as part of the game (in other words, the first goal is to find out what to do), others have goals that are implicit or understood in the context of the genre (for example most fighting games), while others blatantly expose the objectives (strategy games that state specific winning conditions). Generally speaking, there are two types of goals. Those that are necessary to complete, finish or succeed at a game, and those that are not. Goals that are required are called Required Goals, while those that are not are called Optional Goals. Of course, there are times when certain goals arent easily determinable as either required or optional. For example, some games may offer players a wide variety of goals and specify that only a certain number of these must be accomplished. In this case each of those subgoals, taken individually, are debatably both required and optional at the same time. Of course, their actual status depends on what other goals have been accomplished. In the previous example, once the minimum number of goals has been met, the rest of the goals automatically become optional. ---- ==Examples== ===Strong Examples=== ====Shining Force 2==== As a tactical RPG, the goal of each battle is to win, and to level up/improve your charicters. Overall, the goal is to kill the evil sorcerer Iom, and save the world from certain doom. This is accomplished in a linear battle fashon, breaking the overall game goal of beating all the battles into beating each unique battle as it comes. ====Diablo 2==== In Diablo 2 the goal is basically defined by its genre, a dungeon crawler where you must kill hordes of minions in order to reach a high enough level to defeat the main boss in the chapter. There are both optional and required goals in this game, for example you must acquire the Horadric staff to advance in the game, but you do not necessarily have to kill the Countess. The goals are simple, specific, and easy to execute, but take hours of game play and character advancement to fulfill. Almost always the goal is to find a character, find an item, or find and kill a boss. ====Super Mario Bros.==== Super Mario Bros. is a classic example. The simply defined, required game goal is to make your way to the end of each level by defeating foes and conquering obstacles. Once the castle level is reached at the end of a world, the player must defeat King Koopa and then he/she proceeds to the next world. The game also presents several optional goals such as finding invisible boxes, discovering warp pipes that transport you to new areas and worlds and other goals that are extremely well hidden like the "fireworks secret". ====Super Monkey Ball Banana Blitz==== The goal of this game is surprisingly straight forward an intuitive. Super Monkey Ball Banana Blitz's gameplay dictates that the player guide his or her monkey through a stage and subsequently through a goal structure in order to recieve credit for completing the stage. There is no other criteria present that also qualifies as a goal in the game. ====Shadow of the Colossus==== The goal of this game is to defeat all of the Colossus's in an interesting style where every battle is a boss battle. First you must find the Colossus and then you must figure out where its weak points are so you can defeat it. This system where you battle against only one enemy, albeit they are usually huge and very challenging, is fascinating and unlike any goal oreinted game I have ever played. ====Gears of War==== The campaign mode is comprised of five chapters. In each chapter, the player/s must complete specific tasks, such as: reaching the fuel depot, taking out the berserker, covering the entrance to the mansion, etc. After each goal is achieved, the player/s is prompted via text or in-game audio/visual cues as to what their next goal is. ====Sonic the Hedgehog==== This game is a good example of game goals. In Sonic the goal is to get through all the levels and ultimately defeat Dr. Robotnik. The player is also given optional goals throughout the game, such as collecting chaos emeralds. ====Jet Force Gemini==== The main objective of this game is to stop Mizar from taking over the galaxy, and all of the game is revolved around this. All of the small goals, such as rescuing Tribals, an enslaved race of bears, or finding a key to open the next door, is essential for completing the bigger task of defeating Mizar. ====Legend of Zelda: Ocarina of Time==== The main objective of this game is to defeat Ganondorf/Ganon and save Hyrule and Princess Zelda. Many but not all other goals are devoted to this end. Some examples of necessary subgoals include collecting three Spiritual Stones, collecting six tokens, one from each of the six temples, getting at least two swords, and collecting the necessary keys. ===Weak Examples=== ====Second Life==== This game is a completely open ended massively muliplayer game where all content and "gameplay" are created by the players. The game itself is more of a giant sandbox for players to create whatever they want and to share it with who ever they want. Some players even made real world financial profit off of their creations. ====World of Warcraft==== Yes, of course being an MMORPG World of Warcraft is full of quests, and dungeons which are essentially goals put into the game by the design team. However, all of the goals are optional, a player is not "forced" to complete any one goal unless completion of that goal is a prerequisite for the next goal that they desire to complete. In World of Warcraft the freedom to do whatever the player chooses is absolutely apparent, and they pick the goals that they desire to accomplish, though the game may strongly suggest some like leveling up, class based quests, and attunement/keying. ====Oblivion - Elder Scrolls IV==== This game is made up entirely of optional goals. There is no pressure to complete any of the optional goals and there is actually no pressure to do anything at all. If you don't feel like the usual play you can walk around somewhere and pick plants for making potions and sell them and thats just one of countless things to do that have nothign to do with any storyline at all. You can also sneak around and rob and kill everyone in thier sleep and earn infamy if that's what you feel like doing. You can even customize and create your own spells and enchanted weapons. These reasons are what enhance the game because the gameplay and game goals are based on who ever is playing. ====Street Fighter III==== As with most fighting games, the only real goal is to knockout your opponent in order to move on to the next one. What is unique about SF III is that you get points for landing hits, using special/super moves, using counterattacks, chaining together attacks (combos), and parrying attacks. Obtaining a high score is not a set goal however. It is up to the player to decide whether they want to get a lot of points or just beat the opponent any way possible. The point system is merely a gauge of how well you perform (like bragging rights). ====Legend of Zelda: Ocarina of Time==== Some examples of optional goals from this game include getting four bottles, collecting 100 Gold Skulltula tokens, and collecting all the Heart Pieces. These all are examples of weak goals that, though not required, are part of [[Gameworld Exhaustion|exhausting]] the game. ==Parent== *[[Goals]] ---- ==Children== *[[Optional Goals]] *[[Required Goals]] d17c6dcb0d8e01f200bc76a4936421dee8cdb84a 0 33 33 2008-12-18T20:46:09Z Jp 0 26 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] Gameplay rules are arbitrary rules that are imposed on a gameworld in order to transform the interactions with that world into a gameplaying activity. There are rules, such as having 100 health points, that are abstract and feel at times like an arbitrary imposition. Why is it 100 health and not 200 or 300? We could argue that 100 health points is an abstract representation of the stamina, constitution and vigor of the players character. We could also argue that it is simply an arbitrary way of providing the player with a certain amount of challenge. (as in, if the character had 200 points the game would be much easier). Rules that are not tightly connected to the pseudo-physical representation of a gameworld are called abstract rules. Examples of these types of rules include the number of lives the player has available as well as those that determine when a game has ended. ---- ====Part Of==== *[[Rules]] ---- ====Children==== *[[Cardinality of Gameplay]] *[[Game Ends]] *[[Lives]] *[[Multiplayer]] *[[No Game End]] *[[Player Manipulable Rules]] *[[Randomness]] *[[Segmentation of Gameplay]] 543aea94f0cb50c979743a0a91dbca65d38b261a 0 34 34 2008-12-18T20:46:09Z Jp 0 21 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] When a player has seen everything there is to see and done everything there is to do we say that the game has ended due to gameworld exhaustion. It is basically reaching the end of the game with nothing else left to do or see. Gameworld exhaustion is closely related to narrative exhaustion since, in many games, both things occur simultaneously. ==Examples== ===Strong Examples=== ====Pac-Man==== Pac-Man has 255 levels and there is a maximum score that can be obtained. A player who achieves this has finished the game due to gameworld exhaustion. ====Legend of Zelda: The Wind Waker==== Legend of Zelda: The Wind Waker has a certain number of heart containers, items, and figurines to unlock. Once the player has completed all sidequests and tasks, as well as finishing the main story mode which includes completing every dungeon and defeating the final boss, the player has exhausted the gameworld. ====Need for Speed: Hot Pursuit==== Need for Speed: Hot Pursuit has a number of cars, tracks, items, and alternative play modes to unlock. Once all these items have been unlocked through achievements the player has exhausted all the gameworld possibilities. ====Star Ocean: Till the End of Time==== Star Ocean: Till the End of Time is a good example of gameworld exhaustion that is not intertwined with narrative exhaustion. After the story ends, the player can continue playing because new dungeons are unlocked. During gameplay, you can actually complete a map by running around it and getting 100% map completion. You can do this with every map you come across to really exhaust the gameworld. When you get to the extra dungeons after the final boss, you can beat the game by Gameworld Exhaustion by seeing everything and doing everything and completing all of the maps. ====Final Fantasy X==== In Final Fantasy X players can experience game world exhaustion by reaching the maximum level for each character, finding all hidden treasures (e.g. aeons, ultimate weapons, etc…), beating all beast (including the monster ranch), and exploring every nook and cranny of the game world. The player does have the option to technically finish the game by defeating the final boss and ending the game, but the player may also continue to play till they satisfy their curiosity about the game world and quite frankly just “burn out” on the game play. ===Weak Examples=== ====Super Mario Brothers==== Super Mario Brothers: Because of the linear style of the game, you must complete all of the levels presented in order to advance. You essentially are forced to exhaust the game before you reach the end. New areas do not present themselves in past worlds once the player has moved on to the world. Game exhaustion happens but it is not due to constant player exploration. It happens as a requisite of the game. However, this game has many "secret" areas that the player can discover. If the player were to visit them all, we could say that the gameworld has been exhausted, however the player has no way of knowing whether or not he has achieved this. ====Beyond Good and Evil==== In Beyond Good and Evil, there is a gameworld that will eventually end. You can explore every nook and cranny, attain every item and take a picture of all the creatures, but that isn't where the game ends. The game ends when you complete the story and kill the last boss. It still allows for you to exhaust the game afterwards but the game truly ends when the narrative does. ====Kirby Squeak Squad==== Kirby Squeak Squad is a weak example of Gameworld Exhaustion because while it provides a linear path for players to follow it also has a series of collectible items which the player must obtain to truly exhaust the gameworld. Items such as chests contain new abilities as well as the capability to unlock new areas and therefore exhausting the gameworld by playing the game once through is almost impossible. ====Donkey Kong Country==== In Donkey Kong Country, the initial goal of the game is to reach the last world by getting through all the levels and defeating the final boss. While this may beat the game, there are many bonus areas to be found within each level. Therefore, it is difficult to completely exhaust the gameworld. ---- ====Parent==== *[[Game Ends]] ---- ====Children==== None eb9805a9f135963fddbd6447ecf39983599cbbfc 0 35 35 2008-12-18T20:46:09Z Jp 0 4 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] In non-video games, there are usually physical components that restrict the actions that players may take. These tangible objects are embodiments of the rules that the game enforces. For example, in Monopoly (Darrow 1934), the design of the board, with its fixed spaces is a representation of rules that are enforced by the game. You cant break the rule of their being 9 spaces per edge (not counting corner spaces) without changing the actual physical board. We call the rules that are enforced by the game, the gameworld rules. This distinction is important, because it helps understand the case of videogames. Practically by definition, a videogame has no tangible objects. (those that do exist, are usually described as tools that allow the player to communicate with the game, and vice versa, see Interface in this ontology) So, if gameworld rules are those that are enforced by the game, what does that mean in the case of digital games? Computer games are highly spatial (Murray 1997). Most games convey a notion of place to the player. His or her participation in the game is within the boundaries of this virtual world. This world, not necessarily the same as the physical world we inhabit, is still subject to its own constraints and has a consistency that allows the player to recognize it as a world. These constraints, or these characteristics that make it identifiable as such are what we call the gameworld rules. The most obvious gameworld rules are those that attempt to emulate real-world rules. For example, physics. These rules may constrain the way that the game characters can move within the game, or maybe allow them actions that are not generally possible (just as falling without taking damage) '''Strong Example''' Most platformer games have gameworlds in which there is a simulation of gravity. The player controlled character will fall (usually towards the bottom of the screen) when there is nothing underneath it to hold it up. In this case, the existence of gravity as well as the particular things to which it applies is a type of gameworld rule. '''Strong Example''' In Elder Scrolls: Oblivion, there are not many gameplay rules enforced on the player. Instead, the player relies on the game-world to provide a structure in which to play. It is a simulator based rule system which relies on the extension of not only gravity, but time as well. For instance, there is the notion of day and night. If a player travels from one village to another, they may leave during the day and arrive at night (depending on how far the journey). At night you may not be able to enter a person's residence or do certain tasks because the character's may be asleep or shops may be closed. This in turn encourages the player to do other tasks that emulate real world rules, such as sleep. ---- ====Part Of==== *[[Rules]] ---- ====Children==== *[[Checkpoint]] *[[Cropping]] *[[Expiration]] *[[Pseudo-Physical Rules]] *[[Savepoint]] *[[Spawnpoint]] ---- ====References==== Darrow, C. (1934). Monopoly, Parker Brothers. Murray, J. H. (1997). Hamlet on the Holodeck: The Future of Narrative in Cyberspace. New York, The Free Press. ab8393db0e8225de51911f704a082928962f7993 0 3 3 2009-08-19T22:14:17Z Jp 0 wikitext text/x-wiki Reproduced below is a model for entry proposals. Copy, paste it in a word processor and edit the model according to your necessities (you might not need every section available). Then, after adding the content, paste, preview and save it. ---- <nowiki> {{proposal}}</nowiki> <nowiki>[[Category: Proposal]]</nowiki> Write here a description of the category being proposed. You might want to use a paragraph or a few, depending on the subject and its complexity. You could also add a list of questions: List of questions: <nowiki>*Question 1</nowiki> <nowiki>*Question 2</nowiki> <nowiki>==Examples==</nowiki> <nowiki>===Strong example===</nowiki> <nowiki>====Game Blah====</nowiki> Give a strong real-world example of the element you just proposed. For instance: In Name of the Game [Name of Developer, Year of publishing in yyyy format], for Name of the Platform, this feature exemplifies the proposed entry. Try to describe the example so it can be understood by someone who has not played that specific title. <nowiki>===Weak example===</nowiki> <nowiki>====Game Bleagh====</nowiki> Pretty much the same as above, but using a weak example (this could be a little bit subjective). <nowiki> ==Relations with other elements of the Ontology==</nowiki> <nowiki>===Parent===</nowiki> <nowiki>*[[Name of the Parent Category]]</nowiki> <nowiki>===Children===</nowiki> <nowiki>*[[Name of Children Categories (if any)]]</nowiki> <nowiki>==References==</nowiki> Name of Developer, developer (yyyy), Name of the Game. Name of the Publisher, Name of the Platform edition. ---- ====See Also==== *[[Example - Proposing a new entry]] 4a2dc026bab6d7386221083c17cdc244ca1ff8e0 0 36 36 2009-08-19T22:14:00Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Goals]] Goal metrics are explicit measurements used to inform, and keep track of, a players performance or progress in a game. They are also used to determine whether a goal has been reached or not. Goal metrics also help players keep track of their performance across multiple game sessions. Thus, players can keep track of their scores and determine which particular session was the best on the basis of the highest score received. It can also serve a powerful social function by providing different players with a way to compare their performance. ---- ====Parent==== *[[Goals]] ---- ====Children==== *[[Performance Record]] *[[Score]] *[[Success Level]] *[[Time]] a0e2057baceea523c536a7867d278b6b08dd78ea 0 37 286 37 2022-03-30T21:44:51Z Jzagal 2 wikitext text/x-wiki [[Category:Ontology]][[Category:Goals]] Goals are the in-game objectives or conditions that the player must meet if he expects to succeed at the game. These are goals that the game defines for the player to meet, though they may or may not be explicitly communicated to the player. In fact, in the eyes of the player, they may not even be defined. When analyzing a game, one can find goals at different levels of granularity. For all games we could say that the highest level goal is to Win the game or Play as well as possible. However, in order to achieve that goal the player may have to Find the key to open the door or Defeat the Boss Monster. Goals must be considered at the scope or level in which they affect the decisions the player is making. Some goals may be very short-term (Get the key on the other side of the room) while others may be much more long-term. (Solve the mystery of the murder). We have made a conscious decision not to include specific goals that are commonly seen across videogames. In the first place, we could never hope to cover all the possible goals that could be invented. In particular, those goals that are narrative in nature (save the princess, save the queen, save the planet, save the universe, etc.). Secondly, and more importantly, there exists a one-to-one correspondence between goals and entity manipulation. This is not surprising since entity manipulation is the means by which players perform actions in the game in pursuit of achieving the goals set forth. For example, if the goal is to reach the finish line, then the player will be moving by traversing the gameworld. Finally, there are goals that are borne from the desires and whims of the players. For example, a person playing Sim City may decide that, for personal reasons, she wishes to build a city that is as similar as possible to the one she lives in. Another player may decide that he wants to play Quake without using any weapon more powerful than the shotgun. Goals that players self-impose on their game-playing experience are covered in the experiential branch of this ontology.. ---- ====Children==== *[[Agent Goals]] *[[Game Goals]] *[[Goal Metrics]] dbbb96c94944aa109aae27d427f9138c84763988 37 2008-12-18T20:46:10Z Jp 0 10 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Goals]] Goals are the in-game objectives or conditions that the player must meet if he expects to succeed at the game. These are goals that the game defines for the player to meet, though they may or may not be explicitly communicated to the player. In fact, in the eyes of the player, they may not even be defined. When analyzing a game, one can find goals at different levels of granularity. For all games we could say that the highest level goal is to Win the game or Play as well as possible. However, in order to achieve that goal the player may have to Find the key to open the door or Defeat the Boss Monster. Goals must be considered at the scope or level in which they affect the decisions the player is making. Some goals may be very short-term (Get the key on the other side of the room) while others may be much more long-term. (Solve the mystery of the murder). We have made a conscious decision not to include specific goals that are commonly seen across videogames. In the first place, we could never hope to cover all the possible goals that could be invented. In particular, those goals that are narrative in nature (save the princess, save the queen, save the planet, save the universe, etc.). Secondly, and more importantly, there exists a one-to-one correspondence between goals and entity manipulation. This is not surprising since entity manipulation is the means by which players perform actions in the game in pursuit of achieving the goals set forth. For example, if the goal is to reach the finish line, then the player will be moving by traversing the gameworld. Finally, there are goals that are borne from the desires and whims of the players. For example, a person playing Sim City may decide that, for personal reasons, she wishes to build a city that is as similar as possible to the one she lives in. Another player may decide that he wants to play Quake without using any weapon more powerful than the shotgun. Goals that players self-impose on their game-playing experience are covered in the experiential branch of this ontology. ---- ====Children==== *[[Agent Goals]] *[[Game Goals]] *[[Goal Metrics]] a1575361f2bfb2a5a30c8856a69310b036d34a4c 0 38 38 2008-12-18T20:46:11Z Jp 0 27 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] Gravity, in the real world, is defined as the mutual force of attraction between all particles or bodies that have mass. In practical terms, gravity means that things have weight and that, when unsupported, will fall towards the earth. In games, gravity is simulated in many different ways, ranging all the way from simplistic constants to precise complex mathematical models. The implementation of gravity, as a rule, is not necessarily uniform (applying to all entities in the gameworld) or realistic. In a game such as Super Mario World, gravity is evidenced by noting that unsupported objects (that don't fly) fall towards the bottom of the screen. In the FPS Delta Force, shots fired by the player are affected by gravity and lost altitude as the move further away from the weapon that fired them. In a similar fashion, a player can throw a grenade straight up in the air and have it land in the same spot. There are also games that implement the pseudo-physical notion of gravity indirectly. Instead of relying on a physical model, different objects are assigned numerical weights and thus limit the ability of certain characters to carry them. This is commonly seen in role-playing games where the player must manage an inventory of items and a weight system is used to limit the amount, and type, of things the characters can carry. ==Strong Examples== ===Halo 2=== In Halo 2 all of the grenades and player movements are ruled by the laws of gravity. When a player jumps in the air he will fall down after jumping. Furthermore, if a player falls off of the side of a building he will fall with normal gravity type rules. When the player throws a grenade, the grenade will obey the rules of gravity. It will act just like a baseball would in real life. Gravity affects how far and how high you can throw it. ===Prey=== Prey literaly added new twists on how the player experiences gravity in a first person shooter. Prey is based on the Doom 3 engine devolped by ID, which uses realistic physics to determine how objects interact in the game environment. Prey uses gravity in 2 new and unique ways. Firstly, Prey gives the player the ability to change the direction gravity is applied. When a player shoots a "gravity switch" on the ceiling, the player's world is flipped upside-down so that they are now walking on what was previously the ceiling. Anything that is not attached to the floor, which includes the player, crates, weapons, and enemies falls to the ceiling respecting the change in gravity. Secondly, Prey allows the player or computer controlled enemies to defy gravity by walking on gravity "catwalks," which allow the character to walk on walls as long as they have at least one foot touching it. As soon as the player walks off the catwalk or jumps, they will fall off to the floor and sometimes hurt themselves when falling from great distances. This adds a unique aspect to FPS gameplay because enemies may come appear above or behind you. The player has to be aware of what is above and below him in addition to infront and behind. ===Untold Legends: Brotherhood of the Blade=== In this fantasy RPG the player is able to pick up and carry items. Each item has a numerical weight assigned to it and the player controlled character can only carry as much weight as his/her character's strength allows for. The system is inconsistent however in that gold coins collected do not have any weight at all, regardless of the number carried. ==Weak Examples== ===Metroid Prime=== Samus eventually finds an upgrade called Gravity Boots which enable her to have a second jump. Even though the planet she is on has pretty much the same laws of gravity as we do on Earth, she is able to gain a boost in the middle of the air after doing a first jump. ===Super Mario Bros=== Though the majority of the game world is affected by gravity, certain entities are immune. Of the non-sentient entities, the primary example is that of the bricks that hang in mid air. Of the sentient entities, the most prominent example is one of the enemy called 'Lakitu' who dwells in a cloud in the top of the screen. We call this a weak example because gravity does not affect all the entities in the game in the same way. ===Elder Scrolls IV: Oblivion=== Oblivion uses the Havok physics engine to simulate many physical laws. Arrows, for example, are affected by gravity very similarly to the way they would be in real world. If the target is missed, they will bounce off the walls or floor. Also, both player and NPC will lose health when falling more then a few feet. Jumping in the water however softens the fall and does not damage the player. ===Super Smash Bros Melee=== The game world has gravity that pulls all players and objects toward the ground however players don't accelerate while they fall, and players have double and even triple jumps that can defy this gravity. ===World of Warcraft=== Players are under the effects of gravity most of the time. If they jump off of a ledge, they will fall. If they fall far, they will be hurt, and if they fall very far they will be killed. However, non-player characters and monsters are not: they are always on the ground, or sometimes scripted to appear to be flying or floating. There are also ways appropriate to a fantasy game that a player can change the way gravity affects him or her: magical spells to fall slowly or levitate, and flying creatures to ride upon. ===Escape Velocity: Nova=== Though set in space, with planets that should have a large gravitational pull, the game engine does not take gravity into effect when the player is navigating there spaceship. ===Super Mario 64=== While Mario is limited by gravity for the majority of the game, his winged hat enables him to fly in certain levels. He is therefore able to defy the laws of gravity. ===Pac-Man World 2=== In Pac-Man World 2, gravity effects most things such as Pac-Man, enemies, landscape, and most of the objects throughout the level. However, gravity has no effect on pac-dots, power pellets, tokens, fruit, extra lives, power-ups, health wedges, b-doings, and basically everything else that is helpful to Pac-Man throughout his journey. Pac-Man himself is constantly limited by gravity except when he eats the red pac-dot at the begining of a pac-dot chain. When this happens, Pac-Man is lifted into the air, defying all laws of gravity, and gracefully floats his way through the pac-dot chain which takes him on giant loops and swirls in the sky. When the chain ends, Pac-Man is dropped back onto the earth and gravity is once again applied. ---- ==Parent== *[[Pseudo-Physical Rules]] ---- ==Children== * none 8f75e0467c313f152087f6dc92e2d63c6902c150 0 194 194 2010-04-01T21:07:30Z Jp 0 /* Half-Life */ wikitext text/x-wiki {{Proposal}} It is possible to alter the effects of gravity during game play to allow access to new areas or alter the gameplay. ==Examples== ===Strong Examples=== ====Half-Life==== In both the single and multiplayer modes of Half-life, it is possible to change the gravity settings by typing commands into the console. This can be use to alter gameplay by lowering the effects of gravity allowing huge jumps to be accomplished or by increasing the effects of gravity to cause players to die from walking off of small ledges. ====Prey==== In the FPS Prey, the player can alter gravity in two ways. In one, you walk on special metal bridges. In the other, you shoot some pads so the gravity shifts. The gravity shifting is usually used to get past obstacles. ===Weak Example=== In Half-Life 2 the gravity gun allows the effects gravity has upon objects selected to be manipulated by the user. ---- ==Parent== *[[Entity Manipulation]] ---- ==Children== *none 637f0f5f1a8e6ab0e1d67f658c5ad33f3b387c08 0 39 39 2009-07-03T21:17:32Z OudarRacel 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] We've placed all tactile feedback devices together as "haptic displays." Devices in this category vary in sophistication and complexity. The simplest are open cycle haptics, which includes such devices as rumble packs and other devices that cause players' controllers to shake or vibrate. Closed cycle haptics are devices that take haptic input and simultaneously give haptic output. These devices differ from open cycle haptics in that the same device receives input and provides output. When a racing game's steering wheel resists being turned to represent a car's momentum fighting against a turn is a simple example of a closed cycle haptic interface. ---- ====Parent==== *[[Presentation Hardware]] ---- ====Children==== *[[Closed Cycle Haptics]] *[[Open Cycle Haptics]] ff890b88f78b3640e864492614e6dd18f3c25117 0 40 40 2009-08-15T15:38:59Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Head up displays within electronic games share much with their real-world counterparts. They provide the player with information "before his eyes." Real world examples of head up displays include targeting overlays in jet fighter cockpits, speed display projections on the windshields of automobiles. The key characteristic that HUDs in electronic games share with those in the real world is the desire to place information relevant to the current task within easy reach of the user. Given the range of electronic games available, it's no surprise that game HUDs vary greatly in their form. Games that simulate jet fighters or other situations where HUDs are common typically simulate a head up display and other instrumentation as it would appear in the "real world." Falcon 4.0 [Blankenship and Gilman, 1998] approximates the HUD and other instruments used in the F-16 Fighting Falcon, providing targeting information, artificial horizon information and the like in the HUD, with radar and other instruments appearing where one might expect within the fighter cockpit. At the other side of the spectrum, one finds games like Super Mario Bros. [Miyamoto, 1985]. The HUD used in this game makes no approximations to real-world head up displays, but provides game information to the player in a "head up" fashion, listing the character's name (Mario or Luigi), score, number of coins, the current level, and time remaining to complete the level. Many games fall between these two, providing head up displays that include information that resembles information one might expect from a real-life HUD or instrument panel, either by overlaying it on the view of the game world, or placing it in an information panel separated visually from the view of the game world. The espionage games Metal Gear Solid [Kojima, 1998] and Tom Clancy's Splinter Cell [Hattem, 2002] take an overlay approach to their displays, while Republic Commando [LucasArts, 2004] attempts to contextualize HUD instrumentation within the stormtrooper's helmet visor and rifle. As implied above, the HUD can have many components or "instruments" in its display. In many games this includes some sort of life/health indicator, inventory, a map or radar display (sometimes both in one), and various game-specific status displays, such as the display of the sprayer mode in Super Mario Sunshine [Koizumi and Usui, 2002]. Note that these instruments are parts of a HUD more than they are children of one. That is, a HUD is made up of a number of these components rather than being more specific subtypes of a head up display. While this list is meant to be representative of common HUD elements, it is hardly exhaustive. ---- ====Parent==== *[[Visual Output]] ---- ====Children==== None ---- ====Parts==== *[[Buttonpress Indicator]] *[[Control Bindings Display]] *[[Health Indicator]] *[[Lives Indicator]] *[[Map Display]] *[[Next Piece Indicator]] *[[Player Configurable Buttons/Keys]] *[[Points Indicator]] *[[Radar Display]] *[[Special Weapon Indicator]] *[[Time Indicator]] *[[Vehicular Instrumentation]] ---- ====References==== Blankenship, S. and Gilman, L. (1998). Falcon 4.0. Hasbro Interactive, windows edition. Hattem, J. (2002). Tom Clancy's Splinter Cell. Ubi Soft Entertainment, xbox edition. Koizumi, Y. and Usui, K. (2002). Super Mario Sunshine. Nintendo, gamecube edition. Kojima, H. (1998). Metal Gear Solid. Konami Corporation, playstation edition. LucasArts, developer (2004). Republic Commando. LucasArts, xbox edition. Miyamoto, S. (1985). Super Mario Bros. Nintendo, nintendo entertainment system edition. ce0de63964db1238ef55d87ea82a39ba8eee46f7 0 41 41 2009-05-22T12:33:45Z Jp 0 Reverted edits by [[Special:Contributions/DaralOrtro|DaralOrtro]] ([[User talk:DaralOrtro|Talk]]); changed back to last version by [[User:Jp|Jp]] wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Games which use health levels to determine player success often provide some kind of health indicator as a part of their head up display. The exact format of such health displays varies from game to game, but tend to standardize within genres. For example, in one-on-one fighting games, where knowing the health level of each fighter is especially important, each combatant's current health level displays in an overlay at the top of the screen, as in Street Fighter II: The World Warrior [Capcom, 1991]. In real time strategy games, where the health levels of many units are important, health indicators are tied to specific units, as in Warcraft III: Reign of Chaos [Pardo, 2002]. In platform games like Super Mario 64 [Miyamoto, 1996], knowing one's health level, while important, is often less urgent than in fighters or real time strategy games. That being the case, Mario 64 only displays Mario's health level when he takes damage or when he is dangerously low on health. Under normal circumstances, Mario's health level doesn't appear on screen. ---- ====Part-Of==== *[[Head Up Display]] ---- ==Examples== ===Strong Examples=== ====The Legend of Zelda Series==== In the majority of The Legend of Zelda games, the main health indicator is the heart container. It gives a clear indication of how much health you have left and depending on what enemy attacks Link, he loses a set portion of his hearts. The damage depends on whether you lose pieces of your hearts by quarters or halves. Hearts are a key element in gameplay because if Link loses all of his hearts he dies. Not all of the Zelda games followed this system. ====Last Blade 2==== This game incorporates a health bar on the top of the screen with the health bar on the top right indicating the player that started the battle on the right end of the screen and the health bar on the top left to indicate the status of the opponent that started on the left of the screen. The bar starts initially with the color yellow to indicate full health. As time progresses, and damage occurs, the color of the health bar will turn completely red. After it's completely red, any more damage that accrues will have the color red be replaced by an empty health bar. Once the health bar has nothing left, the player will lose the match. ===Weak Examples=== ====The Adventure of Link and The Legend of Zelda: Majora's Mask==== The Adventure of Link and The Legend of Zelda: Majora's Mask did not fit the classic heart health system. The Adventure of Link used a health bar tied to a lives system. If you depleted your health bar you would lose a life. It could be argued that the health bar loses importance because the player is now more worried about losing his lives. Gameplay is also interrupted between lives, contrary to what strong examples of the health indicator would do. Majora's Mask still has the heart system; however, it does not maintain the consequences and valorization of said consequences that is found in the rest of Zelda games. The real game over of Majora's Mask is in the exhaustion of the time given before the world is destroyed. That exhaustion hardly occurs because it is easy to revert time back to the beginning. ====Fight Night==== Fight Night shows both health meter and a stamina meter. If the stamina meter goes down then the players punches are weaker. If the health meter is depleted then the opponent is knocked out. Unlike Street Fighter the player is not dead once their health is depleted. They are simply knocked out and, unless it is the third time within a round, can recover and come back to win the match. The countdown is the only indicator to tell whether a fighter has lost the round, not the health or stamina meters. ====Civilization 4==== Civilization 4 has a variety of ways of checking how you compare against your opponents via in-game graphs and charts that show how close one person may be to satisfying any of the numerous game objectives to win the game. While usually, "health bars" is one tool to indicate the status of a player, Civilization incorporates different indicators such as charts, a scoreboard, and timelines to show how well you're progressing. It is for this reason, however,Civilization 4 is a weak example of health. Though you're able to check your in game status, since there are numerous conditions for victory to check for using these tools, your actual progress may in fact being ambiguous. ====Need for Speed==== A weak example of health display on the HUD can be seen in Need for Speed. The player always has his current place if the race was to finish at that moment. And at certain places on the track they find out how far ahead or behind they are compared to the competition. This health, your current standing in the race, changes throughout the race and can go up and down. ---- ==References== Capcom, developer (1991). Street Fighter II: The World Warrior. Capcom Co., Ltd., arcade edition. Miyamoto, S. (1996). Super Mario 64. Nintendo, nintendo 64 edition. Pardo, R. (2002). Warcraft III: Reign of Chaos. Blizzard Entertainment, windows edition. 4f4023f8606094ec59166d14fd4b9dd91b49c9b3 0 187 187 2008-12-18T20:46:33Z Jp 0 5 revision(s) wikitext text/x-wiki {{proposal}} [[Category: Proposal]] In-game Customizations are the ones achieved through an action performed by the player within the game universe, where the game action actually takes place. ==Examples== ====Strong example==== In Animal Crossing [Nintendo, 2001], for Nintendo GameCube, the player might change his character's house wallpaper, selecting from a variety of patterns. ==Relations with other elements of the Ontology== ====Parent==== *[[To Customize]] ==References== Nintendo, developer (2001). Animal Crossing. Nintendo, GameCube edition. 279fc25cd448498948cd96ea6e4eb040c15d660d 0 42 42 2009-08-15T15:37:52Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] The player operates under the knowledge that there is information, that is fixed in a particular game representation (yet varies over different game instances), and is not known to him or her. The game may involve revealing or obtaining this information in order to make better decisions or may be part of the instrinsic nature of the game (to make decisions without having all the information). It is important to make the distinction between information that is initially unknown and can be learned, from that which can be learned from one game playing session to another. The latter is not considered incomplete information because it can be learned independently from a game session. ==Examples== ===Strong Examples=== ====Poker==== In the card game Poker, each player does not know the exact cards that the other players have. Each time the game is played the players have different cards, so there is no way to anticipate other players hands based on previous games. Information gathered about other players mannerisms and betting styles while playing the game can possibly increase the amount of information known about other players' cards. However, final knowledge of the cards in the other player's hand can only come after the round is over. ====WarCraft==== In WarCraft there is an option called Fog-of-War in which the exact location of enemy units is obscured from view unless they are within the line of sight of player controlled units. ====Ultima Online==== In the MMO Ultima Online, players could wear a special robe (a grey robe refered to as a "Death Robe") that could hide most items the player wears and would seem to indicate that the player recently died, and does not have any posessions and cannot fight or defend themself. This player would appear harmless, but could effectively combat other players with a calm trigger-finger style of play, knowing that they have little to lose and everything to gain, should they defeat their opponent. Conversly, an opponent wearing a full set of high quality armor would often panic, knowing they have much to lose and not knowing if they have anything at all to gain. This panic would be the cause of their downfall. ====Advance Wars==== In the turn-based strategy game ''Advance Wars'' the fog-of-war option disguises not only the movement of units but also the opponent's choice of production of units. ====Guild Wars==== In Guild Wars, you do not know which of the hundreds of skills your opponent has brought into the match until they use those skills against you. This has been used by some teams (most notably, Idiot Savants in the Guild Wars Factions Championship) to create suprise tactics and plays when the time is right. However, since the opponent can see any skill you use and unused skills are pointless, this is not a generally used tactic or focal point of the game. ====Myst==== In Myst you are trapped in a strange world. You complete puzzles that give you pages to books that give you information on how to leave, Depending on which books you add pages to you get different information that lead you towards different endings, one of which is winning. ===Weak Examples=== ====Soul Calibur 2==== Soul Calibur 2, a fighting game, allows special move inputs to be entered while doing other things (pre-buffered), meaning a powerful move could be executed with a button press under certain circumstances. Guessing and counter-guessing regarding which move that will be creates a hidden weapon and a rock-paper-scissors sort of strategy in a game that provides otherwise completely information. ====Ultima Online==== Player vs. player combat in Ultima Online involves a great deal of bluffing, guesswork, and missing information. Spells that reflect attacks can be cast before combat. Poisons can be applied to weapons and items can be trapped. Players typically go through a series of non-damaging disarming moves at the onset of combat. Also, a unique set of words of power are spoken while any particular spell is cast, announcing your intent. Players would create macros that would rapidly say a slew of different spell words while they cast to disguise the nature of their next move. ---- ==Parent== *[[Rules Synergies]] ---- ==Children== None ---- ==References== 93ddb04c3bf3c7e2fd605cd1df4e940f52b46c89 0 43 43 2008-12-18T20:46:35Z Jp 0 10 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Rather than providing a one-to-one relationship between user input and game actions, some games elect to provide interactive menus through which players choose the actions of the game entity or entities under their control. Others use point and click interfaces, typed commands or contextual menus. Such interfaces appear often in role playing and adventure games. In contrast to games that directly map input signals to entity actions, these games accept a series of input signals to navigate the control system, then execute the entity actions the player chooses through that control system. ==Examples== ===Strong Examples=== ===Weak Examples=== ====LocoRoco==== In LocoRoco you indirectly affect the movement of a gelatinous blob (the LocoRoco) by tilting the world so that it rolls around. However, you can also make the LocoRoco jump by pressing the L and R buttons together. The jumping is a direct form of control which contrasts with the movement, which is indirect. Thus, LocoRoco provides a weak example of indirect manipulation. ---- ==Parent== *[[Manipulation Method]] ---- ==Children== *[[Entity Programming Interface]] *[[Menu Interface]] *[[Point and Click Interface]] *[[Synchronized Button Press]] 52ec5c51490dfc4afef9dacbc66aa1b857e998bf 0 44 44 2008-12-18T20:46:36Z Jp 0 18 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] In order for games to create an interactive experience (or even the illusion of interactivity), they must provide some affordance for user input. Input devices and methods have changed significantly over the history of electronic games, typically following a trajectory of increasing bandwidth at the device level and more sophisticated handling of that input at the software level. While these advances have often appeared in parallel, we have chosen to keep the hardware and software layers of input handling distinct from one another because they can vary independently from one another from game to game. That is, one can vary the hardware device from which a game receives input without altering the game's software. Examples of this are especially apparent when playing games on personal computers. Console emulator software often takes input from the keyboard in formats meant to emulate hardware devices that a PC user may not have. Keyboard input is used in place of a joypad if the player doesn't have that hardware. Similarly, first person shooters provide for input through keyboard and mouse, or through joypads or joysticks. While a player's personal experience using these different interfaces may differ, the ways in which the player's input are handled by the software are not significantly different. A point and click interface works the same at the software level whether using a mouse or joystick. Direct motor control over a player's avatar works the same whether control signals are received through a keyboard, joypad, or fishing controller. ==Examples== ===Strong Examples=== ====Guitar Hero==== Guitar Hero represents a game with an interesting take on the hardware input; it comes packaged with a toy guitar that plugs into the PS2 and allows the player to interact with the on screen images in an alternative way, due to the hardware input. However, the guitar is essentially just a remapped dual-shock PS2 controller, so the player could presumably play the game with the default controller. This approach, though, alters the game significantly, making it simultaneously less intuitive and more pedestrian; this is a strong example of the hardware mediating the input of the game. ---- ====Parent==== *'''[[Interface]]''' ---- ====Children==== *'''[[Input Devices]]''' *'''[[Input Method]]''' 7147cd1ee5839c63339a0e393316208c51466faa 0 45 45 2009-10-10T01:15:42Z Xexeo 0 /* Children */ added microphone, such as found is DS wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] An input device is a control that is (with video games) traditionally a piece of hardware used to gather input from the user. This includes such items as joysticks, joypads, game paddles, fishing controllers, light guns, pushbuttons, pedals, electrosensitive mats, mice, and other devices through which players send messages to the game software. Input devices differ from input methods in that the devices translate human action (typically motion) into electronic messages which are then accepted and interpreted by the game software. At both levels there is translation going on to enable the user to control or influence the game. Input devices constitute how user input gets translated into electronic signals, input methods the manner in which the game software interprets those electronic messages. As noted previously, most input devices focus on translating human motion into electronic messages. Devices like joysticks, game paddles, joypads and pushbuttons are common examples. There are also input devices that focus on audio and visual input. For example, some games use speech recognition interfaces to allow voice commands, such as in Lifeline [Konami, 2004], Seaman [Saito, 2000] or sing-along tone matching like in Karaoke Revolution [Randall, 1993]. Examples of current visual inputs include EyeToy: Play [SCEE Studio Soho, 2003], which uses a video camera to track motion within the camera's field of view and "light gun" games like Duck Hunt [Nintendo, 1985] or Time Crisis [Namco, 1996] which optically sense where the gun is pointing on the game screen. Note that like haptic inputs, data gathered by current visual inputs is largely reflective of player movement. EyeToy games are designed to respond to players' movements within the video frame. Games using a light gun essentially measure where the gun is pointing on the game's screen. In some cases, designers opt to replace the light gun technology with a joystick system that provides the same degree of freedom in its input, such as in Silent Scope [Konami, 1999]. We've chosen to examine input devices as sets of channels and interpretations. That is, the device sends a signal over a channel which is received and interpreted so it can be understood by a game's input methods. In this sense, what we're calling input devices is mostly hardware, but also covers software necessary to making the use of input hardware possible. (The routines that receive the raw input streams from the input hardware and make them useful to a game's input method.) The complexity of such interpretive code varies. In the case of games using speech recognition, very complex software goes about parsing and translating the raw audio stream into words that the game then matches to its set of available commands (typically a flat command menu). For games which use an analog joystick to provide direct control over the player character's representation within the game (like a platformer or first person shooter), there is less complicated software at work, the game interpreting the numeric input from the joystick into walking or running in a specific direction.1 For certain devices, these interpretations may take different of input devices and translate them into similar interpreted signals. This would allow for substituting input devices for one another, such as using a joystick in place of a mouse or vice-versa. The game's input methods then receive the interpreted messages from the joystick or mouse and use those messages to move the player's character, navigate a set of menus, etc. It's useful to note that input devices are polled by their interpretive software over time, the "poller" checking the device's state at a certain rate (n times per second). This rate can vary according to the needs of the device. For example, haptic devices that offer resistance to simulate physical contact with game objects require a higher sampling rate than haptic outputs that don't provide such specialized feedback. The current list of input devices below is far from exhaustive, but gives the initial idea for how we're describing input devices. ---- ====Parent==== *'''[[Input]]''' ---- ====Children==== *[[Analog Pushbutton]] *[[Digital Pushbutton]] *[[Direction Pad]] *[[Fourway Joystick]] *[[Lightgun]] *[[Rotary Paddle Control]] *[[Thruster (two-way) Joystick]] *[[Touch-Sensitive Screen]] *[[Microphone]] ---- ====References==== Konami, developer (1999). Silent Scope. Konami Corporation, arcade edition. Konami, developer (2004). Lifeline: Voice Action Adventure. Konami Corporation, playstation 2 edition. Namco, developer (1996). Time Crisis. Namco, arcade edition. Nintendo, developer (1985). Duck Hunt. Nintendo, nintendo entertainment system edition. Randall, J. (2003). Karaoke Revolution. Konami of America, Inc., playstation 2 edition. Saito, Y. (2000). Seaman. Sega, dreamcast edition. SCEE Studio Soho, developer (2003). EyeToy: Play. Sony Computer Entertainment Europe, playstation 2 edition. 92a26e2b9a6697de112097e040aa8d3fbf0650eb 0 46 46 2008-12-18T20:46:37Z Jp 0 5 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] The way in which the game software prompts and allows user input to influence the game. Does pushing up on the joypad move the player avatar forward? Does it move a cursor arrow around the game world? Does it change the highlighted option in a menu? This section of the ontology speaks to methods by which user input is structured and through which the player participates in the game world. One might say that these structures constitute a form of rules, but we are here examining them as methods by which the player participates in the game, rather than as the rules by which the game is played. That is, the input methods constitute the way in which the player may "come to the table" to play in the first place. The input method of a game structures the manner by which the player may enter the game-player agreement by specifying what input is available to the player. ---- ====Parent==== *[[Input]] ---- ====Children==== *[[Locus of Manipulation]] *[[Manipulation Method]] c2ef12c0b616cc0d6495ac17643234611b8644d6 0 47 47 2009-08-19T22:08:06Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Where the player and the game meet by means of presentation, input method, and input device. ---- ====Children==== *'''[[Input]]''' *'''[[Presentation]]''' 5564365bf212c532bc14fc96a7b057b6a104dfda 0 48 48 2009-08-15T15:34:06Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] ==Definition== ;Taking turns over two or more independent game sessions taking turns over two or more independent game sessions.: This form of alternating gameplay was introduced in vintage arcade games, which we call interleaved games. Informally called “hotseat multiplayer”, it consists of taking turns over two or more independent game sessions (Zagal, Nussbaum and Rosas; Bjork and Holopainen). For example, this occurs in games where the first player plays until he loses a life, at which point it is the second player’s turn. Both players alternate until they both run out of lives. Everyone is playing on the same hardware, and there is usually some visual representation acknowledging the other players’ game and its status. For example, the top left corner of the screen may show the current score of player 1 while the top right corner displays player 2’s score. Notably, this new form of coordination is due to the affordances of technology; in this case, the computer is well-suited to manage and maintain multiple game states simultaneously. Some questions that can help establish the degree that interleaved games are present, if answered affirmatively: *Is there a two-player option? *When two players play, is the asynchronous play enforced? *Does the second player’s turn start after the other player loses a life? ==Examples== ===Strong Example=== ====Centipede==== The two player mode of Centipede only allows one player at a time, so each player plays alternatively for the length of a life. This was initially enforced by the hardware of the cabinet, which only had a single trackball and a fire button as the controllers of the game. ====Gradius==== Gradius has the option for a two-player mode in which both players take turns playing the single-player game, and each player's turn ends when they lose a life. This continues until both players have consumed all 9 of their lives (distributed along 3 continues (or in the Japanese version, 3 lives and no continues)). This has a similar effect to 2 players playing the single player mode and switching off lives, with the exception that in the 2 player mode, there are two different positions in the game maintained. ====Megamania==== In the two-player mode of Megamania, each player will play independently – the console had two different joysticks for each. The turn will last until she either loses a life or she finishes a level. ===Weak Examples=== ====Gorf==== This classic arcade game, the temporal coordination depends on which level(s) are completed by each player. Player two will only start playing after player one has completed a mission, or has run out of lives. Thus alternation in the gameplay does not depend on lives, but on the performance of the players, so that there may not be alternation at all if one of the player loses all her lives before completing a mission. ==Relations with other elements of the Ontology== ====Parent==== [[Temporal Coordination]] ====See Also==== *[[Taking Turns]] ==References== Bjork, Staffan, and Jussi Holopainen. ''Patterns in Game Design. Game Development Series''. Hingham, Massachusetts: Charles River Media Inc., 2005. Zagal, Jose, Miguel Nussbaum, and Ricardo Rosas. "A Model to Support the Design of Multiplayer Games." Presence: Teleoperators and Virtual Environments 9.5 (2000): 448-62. ''Centipede''. Atari (1980) Lucasarts: Arcade ''Megamania''. Activision (1982) Atari: Atari 2600. ''Gorf''. Midway (1981) Midway: Arcade. ce823bc1b722c1d66643ade7b6904828f9067031 0 49 49 2012-07-26T16:10:16Z Jp 0 /* Pokemon: R,B,G,Y */ CLeaned up some grammar wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] This relationship is commonly referred to as the Rock-Scissors-Paper relationship. This classic childrens game is summarized as: rock defeats scissors, scissors defeat paper, paper defeats rock. Each element defeats and is defeated by an element. This sort of relationship is commonly seen in strategy games where certain units have strengths or weaknesses against others. We note that intransitive relationships can involve more than 3 elements. However, increasing the number of elements involved can lead to a combinatorial explosion in the number of relationships involved. (Rollings and Morris 2000) ====Strong Examples==== ====Ikaruga==== In this vertical scrolling shmup has only two varieties of enemies, white and black. The player can switch between firing white and black bullets, which allows the player to kill enemies faster since white enemies are weak to black and black enemies are weak to white. ===Pokemon: R,B,G,Y=== The concept of intransitive relationships is very apparent in the first series of the Nintendo Game Boy Pokemon games. The main character captures/collects a team of element oriented "pokemon" and battles enemies in a turn based battle system. Players gain strategic advantages by using pokemon with certain elemental characteristics against enemies with contrasting abilities. For example a pokemon which is considered a "water type" pokemon is given advantage over a foe "fire type" pokemon, and thus its attacks are "super-effective" resulting in up to double the normal point damage done. The fire pokemon, in turn, are particularly effective against bug and ice pokemon. ====Weak Examples==== ===Halo 2=== In Halo 2 certain weapons are more effectice against certain opponents. This is a weak example because it is situational, it is entirely possible to kill anyone with any weapon if you get them in the right situation. ---- ====Parent==== *[[Rules Synergies]] ---- ====Children==== None ---- ====References==== Rollings, A. and D. Morris (2000). Game Architecture and Design. Scottsdale, Arizona, Coriolis. 5d296acdc83d854672262919034cbb8d63d23d0d 0 184 184 2009-05-22T12:35:17Z Jp 0 Reverted edits by [[Special:Contributions/ElnoaCelol|ElnoaCelol]] ([[User talk:ElnoaCelol|Talk]]); changed back to last version by [[User:Jp|Jp]] wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] ==Definition== ;A recognizable subspace of the gameworld, which contains “ tasks that must be accomplished before the players can advance.” (Laidlaw): A level is distinguished from other forms of [[Spatial Segmentation|spatial segmentation]] by the discontinuity in gameplay and space happening between one level and another—the more evident the discontinuity, the greater the notion of level. Often, the discontinuity is highlighted through the use of a transitional screen, intermediate animation, or cut-scene. However, that discontinuity cannot come at the expense of a loss of the necessary spatial relationship between the spatial segments. Another distinguishing feature is that levels are different from each other, because they represent different locations. Games such as Pac-Man, we argue, do not have spatial levels because the maze is always the same. Levels, as parts of the gameworld, are often grouped together by representational themes, (such as “ice” or “lava” levels) or by particular aspects of gameplay (such as “flying” or “driving” levels). The word level is inherently problematic when referring to games. For instance, level has also been used to refer to the degree of difficulty a player encounters. In this sense of challenge, the higher the level, the more difficult the game. In fact, in games such as the pencil and paper role-playing game Dungeons & Dragons (TSR), the word level has multiple uses within the same game. In the case of our ontology, references to the difficulty are considered under challenge segmentation. The tension between discontinuity and relationship between spatial segments can be resolved by exploring a series of questions. *Do enemies from one area follow the player to the next? *If the player fires a shot and it goes off-screen, can it kill an enemy in the next area? *Are any variables, such as health, enemy positions, etc, re-set when the player moves from one area to another? *Could the player draw a map of the areas visited and where they are located in relation to each other? Answering yes to these questions would strengthen the notion of levels in a game. ==Examples== ===Strong Example=== ====Super Mario Bros==== This title relies heavily on the concept of “worlds” and levels. Each world consists of levels, which are numbered as such (1.2, 1.3, 5.1, 5.2). The worlds and levels have different themes and challenges, including new enemies, obstacles, objects, and backgrounds. Some levels are underwater or in the sky, making the levels even more difficult. In the last level of each world, you enter a different castle. The challenges in these castles are different, increasing in difficulty as you progress through the game. You face a similar boss in each castle, but he becomes more difficult to defeat as well. You are introduced to a new world after you defeat the “Bowser”, or, the [[Boss Challenge|boss]]. ====Donkey Kong==== The game presents four distinct screens (referred to as Girders, Pie Factory, Elevator and Rivet levels (Butler "Donkey Kong Faq"); After clearing the first level (Girders), the player moves on to the rivet level, after which a new sequence of levels begins. The second sequence of levels is Girders, Elevator, Rivet; the third sequence is Girders, Pie Factory, Elevator, Rivet, the fourth one is Girders, Pie Factory, Girders, Elevator, Rivet; the fifth and all the successive ones is Girders, Pie Factory, Girders, Elevator, Girders, Rivet. Each successive sequence introduces a new level and re-visits previous ones in a more challenging way, e.g. by adding more opponents. These are considered levels because, as the interstitial animation of Donkey Kong shows, each is part of a skyscraper. Kong always escapes by climbing upwards in each of the levels, except the last, where he falls. As such, each level is a segment of a larger space. ====Kirby Squeak Squad==== This game has a very strong sense of levels in that each world consists of a number of areas that are numbered as such (1-2, 1-3, 4-5, 4-6). Each spatial location has a distinct theme (such as "ice world", "volcano world") and these themes are apparent in the individual levels by use of the design of the level as well as the objects found in the level. Additionally, certain enemies are "native" to certain areas and thus can only be found by re-visiting certain areas. ====Starcraft: Broodwars==== This game is a strong example of level play, each race has a series of levels progressing from very easy to difficult and each must beat in order to progress in the game. There is a multi player side to this game but the main game is based around level progression ie. campaigns. ====Super Mario 64==== This is a strong example of a game with levels. Every time Mario jumps into a painting, a new level begins, each with various goals, or stars, to complete. This provides a good segmentation of gameplay. ====Katamari Damacy==== Katamari Damacy has a very interesting form of Level. The player-controlled Prince of the cosmos journeys to planet Earth where he must roll things up in his Katamari until it is either big enough, or he has met the goal set by his father, the King of the Cosmos. The first location is a few rooms inside a house. As the player progresses in the game, the subsequent levels take place in the same space, but at a different level of detail. So, the first level is a few rooms in the house, the next level includes those same rooms (which now seem smaller) and a few more, and so on. Eventually, the player plays in the town, where the house, which had the rooms is located, then the town and surrounding areas. Each level is like a zoom-out of the previous one, with the last level being the entire planet. ====Devil May Cry 3==== Devil May Cry 3 is a very strong example of a game that uses a level system. The game is broken down into many missions, each one in a set game space. After missions, there is a cut scene relevant to the story, and a menu screen to start off the next mission. There is no way to cross over into other missions while in one, and the goal for a mission cannot be affected by other missions. ====Bionic Commando (NES)==== The game is comprised of several numbered levels, or zones, that the player must beat. The player has some control over the order in which he or she plays the levels, but some item requirements dictate a natural order to play them in. Each level has distinctive characteristics and obstacles that the player must successfully traverse. ===Weak Examples=== ====Ninja Gaiden==== Ninja Gaiden has a weak example of levels for a few reasons. The game definately has levels. The enemies in the different stages of the game are of differing difficulties and are usually associated with physical spaces in the game. Also the different levels are differntiated by different maps and locations on maps. But you can also revisist these levels over and over again and many players have to so they can complete objectives. ====Call of Duty 2==== This World War 2 game is a good example of having levels as there is a beginning and end to each mission. It can be evidenced that the levels progress because the environments change for each level. Though all levels have the same enemies in them,r they possess different weapons and characteristics as you progress. There is also an evident loading screen in between levels which gives the player more of a sense of level progression. ====Half Life==== Levels are distinct spatially, and also thematically (depends on which area of the complex you’re in). There are eighteen levels are called Anomalous Materials, Unforeseen Consequences Office Complex, We’ve Got Hostiles, Blast Pit, Power Up, On A Rail, Apprehension, Questionable Ethics, Surface Tension, Forget About Freeman!, Lambda Core, Xen, Gonarchs Lair, Interloper, Nihilanth and End Game. In spite of the existence of spatial segmentation in the form of levels, it could also be argued it is a narrative division. The example of levels in Half Life is weak because the whole gameworld is presented in a continuous space, where the player can go back to the beginning he wants, with no constrains whatsoever to go back to previous levels. ====Spy Hunter==== The player takes part in a spy chase in a long road, which branches off and then gets back together again. There are no indicators of a new level beginning (no signs/black screen). The player, though, knows that the level has changed by the landscape—the road starts in a forest, then a desert, then a bridge over the sea. Each level also has distinctive enemies, e.g. cars that will try to make you crash by pushing you off the road, or cars with sharp blades that will tear your tires and make you crash. Power-ups – in the form of trucks your car has to get on to get an upgrade – appear once per level. ==Relations with other elements of the Ontology== ===Parent=== [[Spatial Segmentation]] ===See Also=== *[[Challenge Segmentation]] *[[Boss Challenge]] ==References== Laidlaw, Marc. "The Egos at Id." Wired 4.8 (1996). Butler, Kevin. "Donkey Kong Faq". 2003. Txt File. 1.01. March 8 2005. [http://db.gamefaqs.com/coinop/arcade/file/donkey_kong_a.txt]. ''Sonic & Knuckles''. Hirokazu Yasuhara: Sonic Team (1994) Sega: Genesis. ''Donkey Kong''. Shigeru Miyamoto (1981) Nintendo: Arcade ''Half-Life''. Valve Software (1998) Sierra Entertainment: PC ''Pac-Man''. Namco (1980) Midway: Arcade ''Spy Hunter''. Midway (1983) Bally Midway: Arcade ''Super Mario Bros''. Nintendo (1985) Nintendo: NES ''Grand Theft Auto: San Andreas''. (2004) Rockstar: PS2 4ededa33e39862c23e3956059c62b8a91dbfea36 0 135 135 2008-12-18T21:05:08Z Jp 0 14 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] Many games portray the fact that some entities are biological, and thus require resources such as food and air to maintain their existence. For example, many first person shooters where the player controls a human-like character, there is an implicit necessity for breathing oxygen. Since humans can't breathe underwater and cant hold their breath indefinitely, the player controlled entity begins to suffer damage if too much time passes. Strictly speaking, air and food are resources that the player needs to keep on playing. In abstract terms, they are no different than gold, credits, lives or whatever resource the a game involves. However, Life Support is presented separately since there is a definite attempt at simulating the rules that govern the existence of life in the real world. ==Examples== ===Strong Examples=== ====Mr. Driller==== In Mr. Driller (Dreamcast) the player controls a character who is drilling holes in the ground. As time goes by he consumes his reserves of breathable air. The player must reach the bottom of the pit he is drilling before his air runs out. Along the way, the player can encounter air bubbles that replenish his reserves. ====Rogue==== In Rogue, the player controls a character who is exploring a dungeon filled with monsters, traps and treasure. As time goes by the character is affected by lack of sustenance (hunger) and must quickly try to find some food in order to survive. ====Pokémon Mystery Dungeon==== In both versions of Pokémon Mystery Dungeon, the Pokémon party members have a "Belly" meter, which represents their hunger level when in a dungeon. Whenever a character uses an attack or takes a certain number of steps, their Belly meter goes down. If their Belly reaches zero, then the character is weakened and their HP starts to go down. Belly can be refilled by eating Apples and other recovery items. ====The Elder Scrolls IV: Oblivion==== In Oblivion, along with the typical "Health" bar, the players also have Stamina and (conditional) Breath bars. If the player is underwater and goes without breathing for too long, their health will begin to drain. If the players overexert themselves and run low on fatigue, they will collapse and become wide open to attack. This can be remedied by waiting for the gauge to refill, by eating food or by drinking magic potions. ===Weak Examples=== ====Eternal Darkness: Sanity's Requiem==== In Eternal Darkness Sanity's Requiem a player controls a number of characters who explores frighting environments. As a player's character aggressively interacts with the environment (run, attack, and so forth) the character looses stamina and begins to fatigue hindering the player's ability to perform said actions. After a period of rest, a players ability returns to normal. ====Metroid Prime II: Echoes==== Early on in the game, Samus is confronted with the task of jumping between two realms, one of light and one of darkness. The darkworld is caustic and is protected at junctions by light crystals, but while not under the protection of the light crystals (or later the two suit upgrades that allow easier navigation) Samus quickly loses her armor power, creating a sense of urgency throughout the game. ====Legacy of Kain: Soul Reaver==== The gameplay of ''Soul Reaver'' takes place in two worlds simultaneously: the physical realm and the spectral realm. While in the physical realm, your player character Raziel must kill enemies and consume their souls in order to contine project himself in that world. If Raziel does not devour a soul for too long a time, he is cast back into the spectral realm. While this can be a setback, it is not the game-ending scenario that Life Support exhaustion usually implies. ====World of Warcraft==== Wow is a very weak example of life support. In WoW, players do need oxygen when submerged under water and will die if they stay under for too long. However, there are numerous potions and spells that can provide the player with the ability to breath under water for a certain amount of time. Also, the Druid can obtain a water form that can breath under water indeffinately. When not under the water, oxygen is not a factor. As far as food goes, a player needs to eat food to regain health that is lost in battle. However, as with the oxygen, there are a number of spells and potions that can also be used to regain health. A player can reach level 70 without ever eating a piece of food because all they have to do when health is lost is stand still and their health will slowly be regained. ==Relations with other elements of the Ontology== ===Parent=== *[[Pseudo-Physical Rules]] ===Children=== None 06ff1bce06cc48e21947c4f6be2413d45ec72901 0 185 185 2009-03-04T03:58:24Z Jp 0 Added reference to a relevant entry wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] A lightgun is a device, usually modeled on a ballistic weapon such as a pistol, that is used for targeting objects on a video screen by pointing the end of the device in the right direction. Lightguns also usually have a pushbutton ([[Analog Pushbutton|analog]] or [[Digital Pushbutton|digital]]) in the shape of a trigger. Additional buttons may also exist. With force feedback, the light gun can also simulate the recoil of the weapon (see [[Tactile Output|tactile output]]). The "light gun" is named because it uses light as its method of detecting where on screen the user is targeting. The name leads one to believe that the gun itself emits a beam of light, but in fact most light guns actually receive light through a photodiode in the gun barrel. There are two versions of this technique that are commonly used, but the concept is the same: when the trigger of the gun is pulled, the screen is blanked out to black, and the diode begins reception. All or part of the screen is painted white in a way that allows the computer to judge where the gun is pointing, based on when the diode detects light. The user of the light gun notices little or nothing, because the period in which the screen is blank is usually only a fraction of a second. ---- ====Parent==== *[[Input Devices]] ---- ====Children==== None 3e00816d6c6595b339ab08a6c08de408392f5622 0 131 131 2013-03-13T04:11:50Z Jp 0 /* Aliens:Infestation (DS) */ wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] Lives represent a measure of opportunities that a player has to succeed in the game. They are a limited resource that provide a means to both recover from failure but also exerts a pressure to succeed in the game. Players may be presented with opportunities to earn more Chances. Colloquially they are often referred to as chances, opportunities or tries. Expenditure (or loss) of a life implies a break in gameplay as opposed to a continuous gameplay experience in which certain attributes may decrease over time. For example, if the character the player controls has a shield which is able to take damage (and disappear), it should not be considered a life, since the players gameplay experience is not interrupted when, say, a missile hits the shield and disappears. The break in gameplay is usually accompanied by a representation of the loss incurred. For example, an animation of the player-controlled avatar falling to the ground in a faint. We note that the term Lives has been chosen for its ubiquity when referring to discussion of gaming. It is of course an anthropomorphic term that is inconsistent with certain games (such as spaceships or vehicles). ==Examples== ===Strong Examples=== ====Aliens:Infestation (DS)==== In [http://en.wikipedia.org/wiki/Aliens_Infestation Aliens:Infestation] the player controls a soldier who is investigating what happened to the Sulaco and LV-426 (the events of the movie Aliens). The player starts with a team of four marines one of which is the active one. If a marine dies in combat, that marine is gone forever, and another team member replaces him/her immediately. Each marine represents (literally) one life. Throughout the game, the player can locate additional marines that will join "the team" thus gaining "more lives". ====Super Smash Bros==== In this game you have a certain amount of lives in single player. When going through the enemies, if you lose all your lives you must start over from the beginning. In multiplayer, you can choose a life or time setting. If you choose lives then you set them to a certain amount and if you exhaust those lives before your opponent you lose. You may not gain lives here, but if you allow certain items to appear you may gain health which can prolong your lives. ====The Castlevania Adventure==== In Castlevania Adventure, you are given a set amount of lives. More lives can be earned by obtaining them throughout the levels or achieving fixed amount of points through kills and item collection. Once your live have been exhausted, the game ends and forces you to start over from the beginning. This game is a strong example of using a "lives" system. ====Vectorman 2==== Vectorman 2 is a very strong example of the concept of having lives in a video game. Like many 2D platformers, the player is given an affordance of lives at the start, and attaining extra lives proves exceedingly difficult. Vectorman 2 is a rather difficult game, although not as difficult as its predecessor. ====Super Mario Bros==== Super Mario bros. for super nintendo is a perfect example of a game consisting of lives. The object is to pass each level without dieing and you get a certain amount of lives and gain some lives along the way. The whole game strives off of the player being able to play the game without dieing. So, its a strong example ====Battletoads==== The game Battletoads for the SNES is a strong example of a game the has lives. The characters have a limited amount of health and if enough damage is dealt to them, they lose a life. If the player loses all three lives, he/she has the option of continuing from the start of the level that they died on, but if they lose all of their lives again, its game over. Luckily for the player, it is possible to acquire more lives by completing "bonus challenges." ====Lost planet==== In this game you are trying to kill aliens and survive. Once you lose your single life the game is over. You must keep your thermal energy shield up or you will die and have to start the level over. ====Pac-Man==== In ''Pac-Man'', whenever a ghost catches Pac-Man, the player loses a life. Pac-Man reappears in the center of the screen and all the eaten dots remain eaten. The number of lives remaining is indicated by the existence of a Pac-Man icon in the corner of the screen. ====Mortal Kombat: Shaolin Monks==== In the game Mortal Kombat, the player has a life bar which represents how much health is available. Once all the health is used up, the player dies and must start the level over again. Player can attain health killing monsters throughout the game and the extra health recovers some of the lost health. This increases the chance of completing the current level and moving on to the next, and if player dies, he/she will start again at the new level. ====Donkey Kong==== A strong example of game that utilizes lives is Donkey Kong for NES. Lives are pivotal to the gameplay, as they are the foundation for how long you can play the game, as well as the indicator of how successful you are. If you run out of lives, your game is over, and if you gain lives along the way, it increases your chances greatly of beating the game. ====Beyond Good and Evil==== For "Beyond Good and Evil," players have lives as well as a heart gauge that can be depleted until it becomes zero, then the game takes one away. The player can get more lives throughout the game by collecting the right item. Once the lives becomes zero, the game is over. ====Sonic the Hedgehog==== Sonic the Hedgehog for Sega Genesis has lives. However, in Sonic, the lives seem to come and go a little bit easier than in most platform games. There are copious rings to collect along the way, but it also seems that there are accordingly large number of possible ways to lose them, such as the multitude of enemies, spikes, and so on. ====Super Mario Brothers==== In Super Mario Brothers for Gameboy, the progression of the game is based around one's lives. For instance, Mario begins the game with five lives. These lives are represented by mushrroms in the upper right hand corner of the screen. However, lives can be gained by collecting the special mushrooms or a certain amount of coins. Once a player has lost all of his or her lives, the game is over and the player must begin again from the beginning of where he or she saved. ====Spyro (2): Ripto's Rage==== In Ripto's Rage, Spyro begins the game with five lives and is able to gain more by finding butterflies either stuck in bottles or from random fodder creatures in every level. Along with lives, Spyro's sidekick, Sparx, changes color three times if Spyro is hit or does something to damage himself. If the player messes up somehow and dies due to the environment or gets hit four times, a life is subtracted and Spyro restarts from the last save point. If all lives are lost the game ends and the player must retry the level from the very beginning. ===Weak Examples=== ====Halo 2==== Halo 2 does not have a limit on lives. Lives in this game don't really exist, you can die as many times as you need to. You can, of course, die in the game, however it is only a credit to your enemy and it doesn't really limit your gameplay. ====Persona Revelations==== In Persona, you only get one life as any other RPG game. Once you die, you are given an option to turn off the game or load your last saved game file. ====Starcraft==== This Real Time strategy doesn't technically deal with the life system. You may loose troops, and you can build more, but you are not limited to the amount of troops you may build. You do have a unit limit for each map, but these units can die and then be rebuilt an infinite amount of times. The overall strategy of the game, is you have your base and you must defeat the other players. Technically, you only have one life, since once your base is destroyed, the game is over. This is not the traditional use of lives, since you have no way of retrying once your are dead. ====Texas Hold'em==== Texas Hold'em tournament style is an weak example of lives. The use of chips is the equivalent of the more standard term for lives, ie in Mario you can only die a certain amount until your lives run out. Players lose chips as they make mistakes, and gain chips as they do well. ====Vanguard:Saga of Heroes==== Vanguard:Saga of Heroes is an MMORPG, and is a weak example of lives. The character has a health bar, that when killed by an enemy will reach 0. Upon reaching 0 the character respawns at the closest altar to where they died, and they must run back to their corpse to retrieve lost experience from death. Death causes item deterioration and experience loss, this makes death unfavorable and the player works to avoid it. The character has essentially one continuous life and does not suffer any permanent repercussions. ====Warning Forever==== Warning Forever is a Japanese Shmup consisting of purely boss battles. If the player plays in the normal mode, there are no lives. The only life the player has is spent destroying boss after boss while a timer counts down to the end of the game. When the ship explodes, the time left is cut and you're immediately spawned again to continue the game. There is no significant break in gameplay. ====Jedi Knight==== Any game such as Jedi Knight where the game exhaustion is demonstrated by a single death seems to show a weak example of lives as a way to recover from failure. In this game, there is no recovery from death. Although Qui-Gon ‘did’ find a solution to it in Star Wars… interesting. ====Age of Empires==== AoE is a weak example because of lives because a player only has one. Once all his or her units and buildings have been killed or destroyed, the game is over. The player can opt to 'resign' once its obvious there is no hope of winning, but that also causes a loss. Either way, the way to not lose is to live, for if a player 'dies' the game is over. ====Mortal Kombat: Shaolin Monks==== This game is a weak example of lives because the players only has a certain amount of health given to them. The health is basically the player's only life and if he/she dies, they must start the level again. There is an unlimited number of times the player can try beating the level again, thus the player will never die and the game will never end. ====Diddy Kong Racing==== Diddy Kong is a weak example of the importance of lives because there us no set number of lives alloted to each character. You can, however, lose a race, but that has no effect on the quantity of times you can play as you simply start over when a race is lost. ====The Sims==== The Sims is a weak example of a game having lives, becuase the sims basically only have one life. One your Sim dies, the game is over. ====Tiger Woods PGA Tour 07==== The object of this game is just to play gold tournaments and try to win them and make your character as good as possible. there is no real way to"die" in this game, you just win or lose the golf tournament or beat the layer you are playing against or not. ====Final Fantasy X==== Final Fantasy X and the whole Final Fantasy series is a weak example because the characters basically only have one life. When the HP bar is depleted to zero for the active party, then the Game Over screen appears and you must start over from the last save point. ====Half-Life==== In ''Half-Life'', the player-controlled character has an energy bar that reflects his current health level. When this energy bar is depleted, a life is lost. However, in Half-Life the player only has one life. ====Civilization==== A weak example of a game in which lives are a factor is Civilization for PC. The object of the game is to build your civilization from bottom up and does include battles. However, in these battles, only units that you have created can lose their lives. Furthermore, even if some of your units die, you can still create more, giving each unit’s well being less meaning. It is possible to argue that if your civilization is wiped out you lose your lone life. However, this is ludicrous, because even if your civilization is demolished your people become citizens of the civilization that captured you. ====The Secret of Monkey Island==== In ''The Secret of Monkey Island'', there is no representation of health, and the player only has one life. However, there is one and only one way for the player to die: when Guybrush is underwater early in the game, he will die if he remains there for more than ten minutes. Upon dying, the player can choose actions such as "bob" and "float", but it is impossible to continue the game. ====Legend of Zelda: A Link to the Past==== In ''Legend of Zelda: A Link to the Past'', fairies have healing powers. "Touching" a fairy will restore some of Link's hearts, but the fairies can also be captured by use of the bee net. If Link possesses an empty bottle, the fairy can be stored in the bottle for later release/use as normal. Additionally, if a bottled fairy exists in Link's inventory upon depletion of hearts, Link will die, but be immediately resurrected with half of his maximum hearts filled, and gameplay continues. If no fairy is present, the player must reload from a save point. This is a weak example of Lives because Zelda does not have an explicit representation of this concept, the hearts representing Link's health in a similar fashion to Half-Life's health bar. However, when the player has captured a fairy and dies, the resurrection is functionally similar to what happens in regular games with lives. In this sense, the fairy in the bottle is equivalent to Link having an extra "life" stored away. ====Curry House CoCo Ichibanya==== In ''Curry House CoCo Ichibanya'', the life of the player is based on the satisfaction of the satisfaction of the customers. However, there is no "life bar" of sorts to determine the state of the satisfaction of the customers. Also, once you have failed in the task of keeping the customers happy, you die, but you only have one life. ====Hotel Dusk Room 215==== In ''Hotel Dusk Room 215'' the player has no life meter and no awareness of the number of lives they have. When the player answers a question wrong they are sent to reload back from their save point but no mention of lives remaining or the loss of a life are noticed or notified. The game abstracts the concept of lives and seems to give you one life and when lost the player is forced to reload from a save point or to restart the entire game. ====Grand Theft Auto III==== In Grand Theft Auto III for Playstation 2, the player has an infinite amount of lives. For instance, the player can continue to die over and over again until he or she tires of the game. The player will continue the game at the saved area after each death. Death does not effect Game play in this game due to the fact that one has an infinite amount of tries to become successful in the game. ====World of Warcraft==== The World of Warcraft is a weak example of a game with lives. Each player has one live but when he dies, he just has to run back to his body to restore his life. Also, the health bar which determines the life of a character regenerates as the player is not fighting. The player seems to hold infinite possibilities as they can simply run back to their lifeless body and play once again. ====Rainbow Six Las Vegas==== In Tom Clancy's Rainbow Six Vegas, the game aims for realism so the concept of lives is not utilized like a standard game. There is an infinite amount of lives, which are more accurately described as restarts.There is a tiny indicator on the screen display that becomes a darker shade of red when you take damage. Only a few hits will kill the player and then he is given to choice to be sent back to the last checkpoint or restart the level. ====Halo 2==== Halo 2 is a weak example of "lives" because it seems as though the player has endless chances rather than a measurable number of lives. Rather than the player's "health" depleting, their shield is reduced as they are attacked. After the shield is fully depleted, the player is exposed to the elements. These elements include ammunition, grenades, and explosive barrels and shrapnel. Also, if a player falls a great distance the shield depletes. After the player is killed, they simply respawn at the last checkpoint, or at the beginning of the level, depending on their progress. ====Jak and Daxter==== This is a weak example of "lives" because no matter how many times the player dies, the game is not over. It could be said that the player has infinite lives, and can die as many times as is necessary to complete a particular objective in the game. ====Trace Memory==== Trace Memory (Nintendo DS) is considered a weak example of the "Lives" concept. An adventure game, the player follows the narrative progression with an awareness of only a single live, and though that life is at one point in peril within the story line, no actual risk of loss of life exists within gameplay. But through this narrative based risk of death, the player becomes aware of the presence of life. ====Shadow of the Colossus==== This is a weak example of lives because although you can be defeated, their is no real punishment for defeat. You fight one huge and complicated enemy at a time in this game, and when you die you must merely go back to where they are waiting. You don't face any real or severe consequences, and you will more than likely be defeated trying to figure out how to destroy the enemy. ====Marvel vs. Capcom 2==== This fighting game is a weak example because of the nature of how lives work in the game, once your life bar runs out you die, and the next character comes out and once all the characters are defeated the game is over. So as a result there is a notion of lives but you must start the game over to play again. ====Resident Evil Four==== Though providing the player with a given ammount of health, after which the player will die if he is hurt, Resident Evil Four is a very weak example of a game with Lives. This is due to the fact that the player has unlimited lives; the player can continue playing indefinitely no matter the number of deaths he or she faces. Though this game HAS lives, the lives play a very minimal role because they do not affect gameplay. ====Pikmin 2==== In Pikmin 2, the player does not have an option of gaining multiple lives. The player only has one life and if the player dies, the game ends and he is forced to start the level over again. For the most part, there is no real risk to the player's life, only that of the Pikmin he controls. ====Phoenix Wright: Ace Attorney==== When in trial, Phoenix Wright must make calculated objections as he cannot make too many. If these objections are called at the wrong time or with the wrong evidence in mind, Mr. Wright loses an objection token. When these tokens, expressed in icons represented by exclamation points, are depleted, Wright and the player lose the trial and must start from the last save point. There are no such tokens during days of investigation, so the game does not entirely revolve around this system much like Lives. When Wright loses a token, he does not have to start over again, instead he just has to rethink his decisions. (Davehansen) ====Gears of War==== In the XBox360 game Gears of War, players only have one life. If the player dies in campaign they must retry starting form the last checkpoint. This is a weak example because the only consequence of death is a slight setback in overall progress. Having infinite lives downplays the importance of staying alive. ====NBA 2K7==== NBA 2k7 has no player life system, as do most sports games. Players are substituted in and out of the game depending on certain factors such as energy level, amount of fouls, tempo of the game, etc. Players are taken out after they reach thier sixth foul and they are not able to return to the game again. When playing this game there is very little feeling that you are limited to a specified amount of lives. ====Final Fantasy Tactics==== In Final Fantasy Tactics, characters can die but the player doesn't lose unless their main character falls and is not revived within 3 of their turns. Non-essential characters can die permanently if the same counter expires without them being revived, but there is no effect on the game's story or on the gameplay besides the absence of the lost unit. There are also some guest units that can fall in battle without the risk of permanently dying. Units can be revived an infinite number of times as long as the player has means to do so (which can also be infinite). ====Diddy Kong Racing 64==== Diddy Kong Racing for Nintendo 64 is a weak example of a game with lives. The game is mostly a racing game and a player can only win or lose a race. Lives are not a factor of gameplay, if a player loses, he or she must continue trying to win. Advancing through the game is based on having the correct amount of balloons that are won in races and lives do not come into play: the game is over when the player turns off the game not when a player loses all their lives. ==Game Ontology Relations== ====Parent==== *[[Gameplay Rules]] ====Children==== None 085e238e20cdb8e535d627f414910c7a11f52997 0 132 132 2008-12-18T21:04:49Z Jp 0 24 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] In games where the player controls a character with multiple lives, the game often provides a section in its head up display that shows how many lives the player has remaining. As with health indicators, some games only show an indication of how many lives a player has at certain times, such as when a life has been lost. ==Examples== ===Strong Examples=== ====Maximo:Ghosts to Glory==== In Maximo: Ghosts to Glory (Capcom, 2001), players have multiple lives available as they guide Maximo through the game. While the game's head up display specifies a location at the top of the screen for the lives indicator, this indicator only appears when the player gains or loses a life. During normal play, the lives indicator remains hidden. ====Metal Slug X==== Metal Slug X (SNK, 2001) provides players with a persistent count of how many lives they have remaining, immediately underneath the life meters at the top of the screen. Given the high body count of most games of Metal Slug, this persistent indicator proves especially useful to players in managing their life count. ===Weak Examples=== ====Bushido Blade==== In Bushido Blade, the interface doesn't show a life meter representing the character's health. However, the player could lose in one hit or just get injured. ====Diablo 2==== In Diablo 2, a player has a health meter, but the penalty for dying is dropping your weapons and armament in the location of your death, along with your gold. Theoretically you could die any number of times once you have nothing left to lose, but progressing through the game mandates that you not die excessively. ---- ==Part-Of== *[[Head Up Display]] ---- ==References== Capcom, developer. (2001). Maximo: Ghosts to Glory. Capcom Entertainment, Playstation 2 edition. SNK, developer. (2001). Metal Slug X. Agetech, Inc., playstation edition. 71d40ed89d0e8bc59cb7a80f7d73c91992c5a8ec 0 133 133 2009-08-15T15:23:24Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] The camera or system of cameras used to represent the game world are fixed in specified locations. These cameras can pan, tilt, track, or perform other simple camera moves, but never leave a specified "stand" or "track." Unlike Targeted or Roaming cameras, the game provides no player control over Located cameras. ==Examples== ===Strong example=== Dino Crisis Dino Crisis depicts the game view using cameras that are specifically placed to increase dramatic tension. The camera view frequently keeps the player from seeing parts of the gameworld near Regina, the player avatar. Only when Regina moves along the Z axis of a camera shot is the camera permitted to change position, and in that case only along a specified track. ===Weak example=== Grim Fandango [Lucasarts, 1998], a third person adventure game, uses a camera scheme in which the camera is fixed at a certain location and is looking out into the gameworld at a certain angle (usually very artistic and player unfriendly). The player has no control over the angle or the location of the camera; further, the camera is essentially static. That is, the camera never pans, tilts etc. The game offers two control schemes to make up for the disorientation that ensues due to the static-ness of the camera. The first is a character-relative control, where the direction buttons of the keyboard always map to the actual physical direction relative to the character. And the other is a camera relative control scheme where the direction buttons are reversed when the character is facing the camera. See discussion of this example in the Talk page ---- ====Parent==== *[[Camera Binding]] ---- ====Children==== None 9fef2752dfcdd94f2cdc825a01307e763a7c57ad 0 134 134 2008-12-18T21:04:49Z Jp 0 3 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] A games locus of manipulation is where the players ability to control and influence the game is located. In many games, the players manipulative powers are tied to either an on-screen or implied avatar, such as the on screen representation of Mario in Super Mario Sunshine (Koizumi and Usui, 2002) or an implied player avatar like in Doom (Carmack, 1993). In other games it is tied to a number of entities, whether anthropomorphic, as in Warcraft III (Pardo, 2002) or more object like, such as the tetrads in Tetris (Pajitnov, 1986). In all of these cases, at any given moment of play, the player exerts control over some game entity or entities, but not over others. Secondarily, the locus of manipulation provided within a game can work with other aspects of the games presentation and rules to create a sense of identification between the player and the role he plays within a game, or Player Position (Costikyan, 1994). This is especially true in games where the player controls an avatar or a group of anthropomorphic entities. In Super Mario Sunshine (Koizumi and Usui, 2002), the game centers the players control and view of the world on Mario so as to lead the player to identify with Mario. In Madden NFL 2004 (Tiburon, 2003), the player is led to identify with the team he is playing, either as a team, favorite players, or in the capacity of coach. The game provides presentational and subgame modes to reinforce each position. ---- ====Parent==== *[[Input Method]] ---- ====Children==== *[[Multiple Entity Manipulation]] *[[Single Entity Manipulation]] ---- ====References==== Carmack, J. (1993). Doom. id Software, dos edition. Costikyan, G. (1994). I have no words and I must design. Interactive Fantasy, (2). Koizumi, Y. and Usui, K. (2002). Super Mario Sunshine. Nintendo, gamecube edition. Pajitnov, A. (1986). Tetris. Dos edition. Pardo, R. (2002). Warcraft III: Reign of Chaos. Blizzard Entertainment, windows edition. Tiburon, developer (2003). Madden NFL 2004. Electronic Arts, xbox edition. 9138f0bd41dae60029bece1324f5f37a8d733f86 0 1 285 284 2020-09-22T22:39:27Z Jzagal 2 /* Publications */ wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= ===[[Interface]]=== [[:Category:Interface|See all entries in this hierarchy]] ===[[Rules]]=== [[:Category:Rules|See all entries in this hierarchy]] ===[[Entity Manipulation]]=== [[:Category:Entity Manipulation|See all entries in this hierarchy]] ===[[Goals]]=== [[:Category:Goals|See all entries in this hierarchy]] =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *'''Participating of the Ontology Project''' **[[General Structure for Ontology Entries]] **[[Available templates]], and what they mean. **[[Ontology Entry Format|How to format an Ontology entry]] **[[Example - Proposing a new entry]] *'''Wiki Editing''' **[https://en.wikipedia.org/wiki/Wikipedia:Tutorial/Formatting Cheatsheet for editing] in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) =Work in Progress= *[[:Category:Proposal|Ontology Entries Currently Being Proposed]] *[[:Category:Outofdate|Ontology Entries Considered Out of Date]] *[[To-Do List]] =Publications= *'''2020''' **Debus, M., Zagal, J.P., Cardona-Rivera, R., [http://gamestudies.org/2003/articles/debus_zagal_cardonarivera A Typology of Imperative Game Goals], [http://gamestudies.org/2003/ Game Studies] 20:3. **Cardona-Rivera, R., Zagal, J.P., Debus, M., Narrative Goals in Games: A Novel Nexus of Story and Gameplay, Proceedings of Foundations of Digital Games (FDG) 2020, Malta. *'''2019''' **Zagal, J.P., Debus, M., Cardona-Rivera, R., On the Ultimate Goals of Games: Winning, Finishing, and Prolonging, Proceedings of the 13th International Philosophy of Computer Games Conference, St Petersburg, Russia. *'''2010''' **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *'''2008''' **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *'''2007''' **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *'''2005''' **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Mazzetta, F. (2015) - [http://ossessionicontaminazioni.blogspot.com/2015/07/game-onthology-project-una-risorsa-per.html Game Ontology Project: Una Risorsa per I Game Studies e per L-indicizzazione (non solo) Semantica dei Videogiochi] *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *[[Related Work|References to similar or inspirational work]] =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[File:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly hosted by DePaul University's College of Computing and Digital Media. Prior to that it was maintained by the [http://egl.lmc.gatech.edu/ Experimental Game Lab] at the Georgia Institute of Technology. 75391dc67cce7c63f9dec73201c751b3b9722dc9 284 283 2020-09-22T22:37:24Z Jzagal 2 /* Publications */ wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= ===[[Interface]]=== [[:Category:Interface|See all entries in this hierarchy]] ===[[Rules]]=== [[:Category:Rules|See all entries in this hierarchy]] ===[[Entity Manipulation]]=== [[:Category:Entity Manipulation|See all entries in this hierarchy]] ===[[Goals]]=== [[:Category:Goals|See all entries in this hierarchy]] =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *'''Participating of the Ontology Project''' **[[General Structure for Ontology Entries]] **[[Available templates]], and what they mean. **[[Ontology Entry Format|How to format an Ontology entry]] **[[Example - Proposing a new entry]] *'''Wiki Editing''' **[https://en.wikipedia.org/wiki/Wikipedia:Tutorial/Formatting Cheatsheet for editing] in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) =Work in Progress= *[[:Category:Proposal|Ontology Entries Currently Being Proposed]] *[[:Category:Outofdate|Ontology Entries Considered Out of Date]] *[[To-Do List]] =Publications= *'''2020''' **Debus, M., Zagal, J.P., Cardona-Rivera, R., [http://gamestudies.org/2003/articles/debus_zagal_cardonarivera A Typology of Imperative Game Goals], [http://gamestudies.org/2003/ Game Studies] 20:3. *'''2019''' **Zagal, J.P., Debus, M., Cardona-Rivera, R., On the Ultimate Goals of Games: Winning, Finishing, and Prolonging, Proceedings of the 13th International Philosophy of Computer Games Conference, St Petersburg, Russia. *'''2010''' **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *'''2008''' **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *'''2007''' **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *'''2005''' **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Mazzetta, F. (2015) - [http://ossessionicontaminazioni.blogspot.com/2015/07/game-onthology-project-una-risorsa-per.html Game Ontology Project: Una Risorsa per I Game Studies e per L-indicizzazione (non solo) Semantica dei Videogiochi] *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *[[Related Work|References to similar or inspirational work]] =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[File:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly hosted by DePaul University's College of Computing and Digital Media. Prior to that it was maintained by the [http://egl.lmc.gatech.edu/ Experimental Game Lab] at the Georgia Institute of Technology. 5d3e60317c4c18302d9a1e044bae068f1f101813 283 282 2020-09-22T22:34:39Z Jzagal 2 /* Publications */ wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= ===[[Interface]]=== [[:Category:Interface|See all entries in this hierarchy]] ===[[Rules]]=== [[:Category:Rules|See all entries in this hierarchy]] ===[[Entity Manipulation]]=== [[:Category:Entity Manipulation|See all entries in this hierarchy]] ===[[Goals]]=== [[:Category:Goals|See all entries in this hierarchy]] =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *'''Participating of the Ontology Project''' **[[General Structure for Ontology Entries]] **[[Available templates]], and what they mean. **[[Ontology Entry Format|How to format an Ontology entry]] **[[Example - Proposing a new entry]] *'''Wiki Editing''' **[https://en.wikipedia.org/wiki/Wikipedia:Tutorial/Formatting Cheatsheet for editing] in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) =Work in Progress= *[[:Category:Proposal|Ontology Entries Currently Being Proposed]] *[[:Category:Outofdate|Ontology Entries Considered Out of Date]] *[[To-Do List]] =Publications= *'''2020''' **Debus, M., Zagal, J.P., Cardona-Rivera, R.,[http://gamestudies.org/2003/articles/debus_zagal_cardonarivera A Typology of Imperative Game Goals], [http://gamestudies.org/2003/ Game Studies] 20:3. *'''2019''' **Zagal, J.P., Debus, M., Cardona-Rivera, R., On the Ultimate Goals of Games: Winning, Finishing, and Prolonging, Proceedings of the 13th International Philosophy of Computer Games Conference, St Petersburg, Russia. *'''2010''' **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *'''2008''' **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *'''2007''' **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *'''2005''' **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Mazzetta, F. (2015) - [http://ossessionicontaminazioni.blogspot.com/2015/07/game-onthology-project-una-risorsa-per.html Game Ontology Project: Una Risorsa per I Game Studies e per L-indicizzazione (non solo) Semantica dei Videogiochi] *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *[[Related Work|References to similar or inspirational work]] =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[File:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly hosted by DePaul University's College of Computing and Digital Media. Prior to that it was maintained by the [http://egl.lmc.gatech.edu/ Experimental Game Lab] at the Georgia Institute of Technology. 5ef278bf183e1e18c565238531a343e1f5a98448 282 281 2020-09-22T22:32:59Z Jzagal 2 /* Publications */ wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= ===[[Interface]]=== [[:Category:Interface|See all entries in this hierarchy]] ===[[Rules]]=== [[:Category:Rules|See all entries in this hierarchy]] ===[[Entity Manipulation]]=== [[:Category:Entity Manipulation|See all entries in this hierarchy]] ===[[Goals]]=== [[:Category:Goals|See all entries in this hierarchy]] =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *'''Participating of the Ontology Project''' **[[General Structure for Ontology Entries]] **[[Available templates]], and what they mean. **[[Ontology Entry Format|How to format an Ontology entry]] **[[Example - Proposing a new entry]] *'''Wiki Editing''' **[https://en.wikipedia.org/wiki/Wikipedia:Tutorial/Formatting Cheatsheet for editing] in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) =Work in Progress= *[[:Category:Proposal|Ontology Entries Currently Being Proposed]] *[[:Category:Outofdate|Ontology Entries Considered Out of Date]] *[[To-Do List]] =Publications= *'''2019''' **Zagal, J.P., Debus, M., Cardona-Rivera, R., On the Ultimate Goals of Games: Winning, Finishing, and Prolonging, Proceedings of the 13th International Philosophy of Computer Games Conference, St Petersburg, Russia. *'''2010''' **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *'''2008''' **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *'''2007''' **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *'''2005''' **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Mazzetta, F. (2015) - [http://ossessionicontaminazioni.blogspot.com/2015/07/game-onthology-project-una-risorsa-per.html Game Ontology Project: Una Risorsa per I Game Studies e per L-indicizzazione (non solo) Semantica dei Videogiochi] *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *[[Related Work|References to similar or inspirational work]] =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[File:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly hosted by DePaul University's College of Computing and Digital Media. Prior to that it was maintained by the [http://egl.lmc.gatech.edu/ Experimental Game Lab] at the Georgia Institute of Technology. 8946e936e3908e6ee72139010d734096ffd957ce 281 280 2020-07-15T16:26:25Z Jzagal 2 /* Related Work using the Game Ontology */ wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= ===[[Interface]]=== [[:Category:Interface|See all entries in this hierarchy]] ===[[Rules]]=== [[:Category:Rules|See all entries in this hierarchy]] ===[[Entity Manipulation]]=== [[:Category:Entity Manipulation|See all entries in this hierarchy]] ===[[Goals]]=== [[:Category:Goals|See all entries in this hierarchy]] =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *'''Participating of the Ontology Project''' **[[General Structure for Ontology Entries]] **[[Available templates]], and what they mean. **[[Ontology Entry Format|How to format an Ontology entry]] **[[Example - Proposing a new entry]] *'''Wiki Editing''' **[https://en.wikipedia.org/wiki/Wikipedia:Tutorial/Formatting Cheatsheet for editing] in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) =Work in Progress= *[[:Category:Proposal|Ontology Entries Currently Being Proposed]] *[[:Category:Outofdate|Ontology Entries Considered Out of Date]] *[[To-Do List]] =Publications= *'''2010''' **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *'''2008''' **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *'''2007''' **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *'''2005''' **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Mazzetta, F. (2015) - [http://ossessionicontaminazioni.blogspot.com/2015/07/game-onthology-project-una-risorsa-per.html Game Ontology Project: Una Risorsa per I Game Studies e per L-indicizzazione (non solo) Semantica dei Videogiochi] *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *[[Related Work|References to similar or inspirational work]] =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[File:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly hosted by DePaul University's College of Computing and Digital Media. Prior to that it was maintained by the [http://egl.lmc.gatech.edu/ Experimental Game Lab] at the Georgia Institute of Technology. 62bf008f63495649ee096c871034c3e377a4dfec 280 254 2020-07-15T16:25:46Z Jzagal 2 /* Related Work using the Game Ontology */ wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= ===[[Interface]]=== [[:Category:Interface|See all entries in this hierarchy]] ===[[Rules]]=== [[:Category:Rules|See all entries in this hierarchy]] ===[[Entity Manipulation]]=== [[:Category:Entity Manipulation|See all entries in this hierarchy]] ===[[Goals]]=== [[:Category:Goals|See all entries in this hierarchy]] =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *'''Participating of the Ontology Project''' **[[General Structure for Ontology Entries]] **[[Available templates]], and what they mean. **[[Ontology Entry Format|How to format an Ontology entry]] **[[Example - Proposing a new entry]] *'''Wiki Editing''' **[https://en.wikipedia.org/wiki/Wikipedia:Tutorial/Formatting Cheatsheet for editing] in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) =Work in Progress= *[[:Category:Proposal|Ontology Entries Currently Being Proposed]] *[[:Category:Outofdate|Ontology Entries Considered Out of Date]] *[[To-Do List]] =Publications= *'''2010''' **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *'''2008''' **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *'''2007''' **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *'''2005''' **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Mazzetta, F. (2015) - Game Ontology Project: Una Risorsa per I Game Studies e per L-indicizzazione (non solo) Semantica dei Videogiochi *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *[[Related Work|References to similar or inspirational work]] =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[File:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly hosted by DePaul University's College of Computing and Digital Media. Prior to that it was maintained by the [http://egl.lmc.gatech.edu/ Experimental Game Lab] at the Georgia Institute of Technology. d5b49466467febdb356f3a5ca485c208beaa9a35 254 253 2015-07-24T18:32:41Z Jzagal 2 /* Getting Started */ wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= ===[[Interface]]=== [[:Category:Interface|See all entries in this hierarchy]] ===[[Rules]]=== [[:Category:Rules|See all entries in this hierarchy]] ===[[Entity Manipulation]]=== [[:Category:Entity Manipulation|See all entries in this hierarchy]] ===[[Goals]]=== [[:Category:Goals|See all entries in this hierarchy]] =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *'''Participating of the Ontology Project''' **[[General Structure for Ontology Entries]] **[[Available templates]], and what they mean. **[[Ontology Entry Format|How to format an Ontology entry]] **[[Example - Proposing a new entry]] *'''Wiki Editing''' **[https://en.wikipedia.org/wiki/Wikipedia:Tutorial/Formatting Cheatsheet for editing] in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) =Work in Progress= *[[:Category:Proposal|Ontology Entries Currently Being Proposed]] *[[:Category:Outofdate|Ontology Entries Considered Out of Date]] *[[To-Do List]] =Publications= *'''2010''' **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *'''2008''' **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *'''2007''' **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *'''2005''' **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *[[Related Work|References to similar or inspirational work]] =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[File:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly hosted by DePaul University's College of Computing and Digital Media. Prior to that it was maintained by the [http://egl.lmc.gatech.edu/ Experimental Game Lab] at the Georgia Institute of Technology. 7bd9a30dc75ab8065b7f3f9a1829878202c71a69 253 252 2015-07-24T18:20:11Z Jzagal 2 wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= ===[[Interface]]=== [[:Category:Interface|See all entries in this hierarchy]] ===[[Rules]]=== [[:Category:Rules|See all entries in this hierarchy]] ===[[Entity Manipulation]]=== [[:Category:Entity Manipulation|See all entries in this hierarchy]] ===[[Goals]]=== [[:Category:Goals|See all entries in this hierarchy]] =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *'''Participating of the Ontology Project''' **[[General Structure for Ontology Entries]] **[[Available templates]], and what they mean. **[[Ontology Entry Format|How to format an Ontology entry]] **[[Example - Proposing a new entry]] *'''Wiki Editing''' **Cheatsheet for editing in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) **A more detailed list of wiki markup commands =Work in Progress= *[[:Category:Proposal|Ontology Entries Currently Being Proposed]] *[[:Category:Outofdate|Ontology Entries Considered Out of Date]] *[[To-Do List]] =Publications= *'''2010''' **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *'''2008''' **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *'''2007''' **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *'''2005''' **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *[[Related Work|References to similar or inspirational work]] =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[File:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly hosted by DePaul University's College of Computing and Digital Media. Prior to that it was maintained by the [http://egl.lmc.gatech.edu/ Experimental Game Lab] at the Georgia Institute of Technology. 2657a05097d3f29d22c1642ae77312e8c85ee897 252 247 2015-07-24T18:19:03Z Jzagal 2 /* Related Projects */ wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= ===[[Interface]]=== [[:Category:Interface|See all entries in this hierarchy]] ===[[Rules]]=== [[:Category:Rules|See all entries in this hierarchy]] ===[[Entity Manipulation]]=== [[:Category:Entity Manipulation|See all entries in this hierarchy]] ===[[Goals]]=== [[:Category:Goals|See all entries in this hierarchy]] =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *'''Participating of the Ontology Project''' **[[General Structure for Ontology Entries]] **[[Available templates]], and what they mean. **[[Ontology Entry Format|How to format an Ontology entry]] **[[Example - Proposing a new entry]] *'''Wiki Editing''' **Cheatsheet for editing in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) **A more detailed list of wiki markup commands =Work in Progress= *[[:Category:Proposal|Ontology Entries Currently Being Proposed]] *[[:Category:Outofdate|Ontology Entries Considered Out of Date]] *[[To-Do List]] =Publications= *'''2010''' **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *'''2008''' **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *'''2007''' **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *'''2005''' **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *[[Related Work|References to similar or inspirational work]] =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[File:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly hosted by DePaul University's College of Computing and Digital Media. Prior to that it was maintained by the [http://egl.lmc.gatech.edu/ Experimental Game Lab] at the Georgia Institute of Technology. a1ed835f98e02ae55a2979fcf8c61bac6e5d972f 247 234 2015-07-22T22:04:37Z Jzagal 2 /* Related Projects */ wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= ===[[Interface]]=== [[:Category:Interface|See all entries in this hierarchy]] ===[[Rules]]=== [[:Category:Rules|See all entries in this hierarchy]] ===[[Entity Manipulation]]=== [[:Category:Entity Manipulation|See all entries in this hierarchy]] ===[[Goals]]=== [[:Category:Goals|See all entries in this hierarchy]] =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *'''Participating of the Ontology Project''' **[[General Structure for Ontology Entries]] **[[Available templates]], and what they mean. **[[Ontology Entry Format|How to format an Ontology entry]] **[[Example - Proposing a new entry]] *'''Wiki Editing''' **Cheatsheet for editing in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) **A more detailed list of wiki markup commands =Work in Progress= *[[:Category:Proposal|Ontology Entries Currently Being Proposed]] *[[:Category:Outofdate|Ontology Entries Considered Out of Date]] *[[To-Do List]] =Publications= *'''2010''' **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *'''2008''' **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *'''2007''' **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *'''2005''' **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *[[Related Work|References to similar or inspirational work]] =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[File:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly maintained by the Experimental Game Lab at the Georgia Institute of Technology. 39d651a33194cda9ef70356b5b8145e8ab27c20d 234 233 2015-07-21T00:25:46Z Jzagal 2 /* Related Work using the Game Ontology */ wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= ===[[Interface]]=== [[:Category:Interface|See all entries in this hierarchy]] ===[[Rules]]=== [[:Category:Rules|See all entries in this hierarchy]] ===[[Entity Manipulation]]=== [[:Category:Entity Manipulation|See all entries in this hierarchy]] ===[[Goals]]=== [[:Category:Goals|See all entries in this hierarchy]] =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *'''Participating of the Ontology Project''' **[[General Structure for Ontology Entries]] **[[Available templates]], and what they mean. **[[Ontology Entry Format|How to format an Ontology entry]] **[[Example - Proposing a new entry]] *'''Wiki Editing''' **Cheatsheet for editing in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) **A more detailed list of wiki markup commands =Work in Progress= *[[:Category:Proposal|Ontology Entries Currently Being Proposed]] *[[:Category:Outofdate|Ontology Entries Considered Out of Date]] *[[To-Do List]] =Publications= *'''2010''' **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *'''2008''' **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *'''2007''' **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *'''2005''' **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *[[Related Work|References to similar or inspirational work]] =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[Image:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly maintained by the Experimental Game Lab at the Georgia Institute of Technology. b55e32a14947566c35364030cad1b42b235b82ff 233 232 2015-07-21T00:24:24Z Jzagal 2 /* Publications */ wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= ===[[Interface]]=== [[:Category:Interface|See all entries in this hierarchy]] ===[[Rules]]=== [[:Category:Rules|See all entries in this hierarchy]] ===[[Entity Manipulation]]=== [[:Category:Entity Manipulation|See all entries in this hierarchy]] ===[[Goals]]=== [[:Category:Goals|See all entries in this hierarchy]] =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *'''Participating of the Ontology Project''' **[[General Structure for Ontology Entries]] **[[Available templates]], and what they mean. **[[Ontology Entry Format|How to format an Ontology entry]] **[[Example - Proposing a new entry]] *'''Wiki Editing''' **Cheatsheet for editing in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) **A more detailed list of wiki markup commands =Work in Progress= *[[:Category:Proposal|Ontology Entries Currently Being Proposed]] *[[:Category:Outofdate|Ontology Entries Considered Out of Date]] *[[To-Do List]] =Publications= *'''2010''' **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *'''2008''' **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *'''2007''' **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *'''2005''' **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *References to similar or inspirational work =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[Image:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly maintained by the Experimental Game Lab at the Georgia Institute of Technology. 7a7e478d3fecdd25314b639a6a9a55816a08bfd9 232 231 2015-07-21T00:24:01Z Jzagal 2 /* Getting Started */ wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= ===[[Interface]]=== [[:Category:Interface|See all entries in this hierarchy]] ===[[Rules]]=== [[:Category:Rules|See all entries in this hierarchy]] ===[[Entity Manipulation]]=== [[:Category:Entity Manipulation|See all entries in this hierarchy]] ===[[Goals]]=== [[:Category:Goals|See all entries in this hierarchy]] =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *'''Participating of the Ontology Project''' **[[General Structure for Ontology Entries]] **[[Available templates]], and what they mean. **[[Ontology Entry Format|How to format an Ontology entry]] **[[Example - Proposing a new entry]] *'''Wiki Editing''' **Cheatsheet for editing in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) **A more detailed list of wiki markup commands =Work in Progress= *[[:Category:Proposal|Ontology Entries Currently Being Proposed]] *[[:Category:Outofdate|Ontology Entries Considered Out of Date]] *[[To-Do List]] =Publications= *2010 **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *2008 **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *2007 **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *2005 **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *References to similar or inspirational work =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[Image:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly maintained by the Experimental Game Lab at the Georgia Institute of Technology. b163475fd33a3e8fec90f38c0400540affe55923 231 230 2015-07-20T23:27:33Z Jzagal 2 Protected "[[Main Page]]" ([Edit=Allow only administrators] (indefinite) [Move=Allow only administrators] (indefinite)) wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= ===[[Interface]]=== [[:Category:Interface|See all entries in this hierarchy]] ===[[Rules]]=== [[:Category:Rules|See all entries in this hierarchy]] ===[[Entity Manipulation]]=== [[:Category:Entity Manipulation|See all entries in this hierarchy]] ===[[Goals]]=== [[:Category:Goals|See all entries in this hierarchy]] =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *Participating of the Ontology Project **[[General Structure for Ontology Entries]] **[[Available templates]], and what they mean. **[[Ontology Entry Format|How to format an Ontology entry]] **[[Example - Proposing a new entry]] *Wiki Editing **Cheatsheet for editing in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) **A more detailed list of wiki markup commands =Work in Progress= *[[:Category:Proposal|Ontology Entries Currently Being Proposed]] *[[:Category:Outofdate|Ontology Entries Considered Out of Date]] *[[To-Do List]] =Publications= *2010 **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *2008 **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *2007 **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *2005 **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *References to similar or inspirational work =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[Image:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly maintained by the Experimental Game Lab at the Georgia Institute of Technology. 3c3e0c59ccddd6f9ccfaacfefb2bfc57e808029f 230 222 2015-07-20T16:45:48Z Jzagal 2 wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= ===[[Interface]]=== [[:Category:Interface|See all entries in this hierarchy]] ===[[Rules]]=== [[:Category:Rules|See all entries in this hierarchy]] ===[[Entity Manipulation]]=== [[:Category:Entity Manipulation|See all entries in this hierarchy]] ===[[Goals]]=== [[:Category:Goals|See all entries in this hierarchy]] =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *Participating of the Ontology Project **[[General Structure for Ontology Entries]] **[[Available templates]], and what they mean. **[[Ontology Entry Format|How to format an Ontology entry]] **[[Example - Proposing a new entry]] *Wiki Editing **Cheatsheet for editing in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) **A more detailed list of wiki markup commands =Work in Progress= *[[:Category:Proposal|Ontology Entries Currently Being Proposed]] *[[:Category:Outofdate|Ontology Entries Considered Out of Date]] *[[To-Do List]] =Publications= *2010 **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *2008 **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *2007 **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *2005 **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *References to similar or inspirational work =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[Image:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly maintained by the Experimental Game Lab at the Georgia Institute of Technology. 3c3e0c59ccddd6f9ccfaacfefb2bfc57e808029f 222 221 2015-07-20T16:34:17Z Jzagal 2 /* Work in Progress */ wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= ===[[Interface]]=== [[:Category:Interface|See all entries in this hierarchy]] ===[[Rules]]=== [[:Category:Rules|See all entries in this hierarchy]] ===[[Entity Manipulation]]=== [[:Category:Entity Manipulation|See all entries in this hierarchy]] ===[[Goals]]=== [[:Category:Goals|See all entries in this hierarchy]] =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *Participating of the Ontology Project **[[General Structure for Ontology Entries]] **[[Available templates]], and what they mean. **[[Ontology Entry Format|How to format an Ontology entry]] **[[Example - Proposing a new entry]] *Wiki Editing **Cheatsheet for editing in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) **A more detailed list of wiki markup commands =Work in Progress= *[[:Category:Proposal|Ontology Entries Currently Being Proposed]] *[[:Category:Outofdate|Ontology Entries Considered Out of Date]] *[[To-Do List]] =Publications= *2010 **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *2008 **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *2007 **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *2005 **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *References to similar or inspirational work =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[Image:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly maintained by the Experimental Game Lab at the Georgia Institute of Technology. 122c67180a8532632db4e19538e47ac822b8b26f 221 220 2015-07-20T16:34:05Z Jzagal 2 /* Getting Started */ wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= ===[[Interface]]=== [[:Category:Interface|See all entries in this hierarchy]] ===[[Rules]]=== [[:Category:Rules|See all entries in this hierarchy]] ===[[Entity Manipulation]]=== [[:Category:Entity Manipulation|See all entries in this hierarchy]] ===[[Goals]]=== [[:Category:Goals|See all entries in this hierarchy]] =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *Participating of the Ontology Project **[[General Structure for Ontology Entries]] **[[Available templates]], and what they mean. **[[Ontology Entry Format|How to format an Ontology entry]] **[[Example - Proposing a new entry]] *Wiki Editing **Cheatsheet for editing in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) **A more detailed list of wiki markup commands =Work in Progress= *[[:Category:Proposal|Ontology Entries Currently Being Proposed]] *[[:Category:Outofdate|Ontology Entries Considered Out of Date]] *[[To-Do List]] [[Publications]] *2010 **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *2008 **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *2007 **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *2005 **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *References to similar or inspirational work =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[Image:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly maintained by the Experimental Game Lab at the Georgia Institute of Technology. 52843ec86de15edff5c69d6e158a1a53526c29cf 220 219 2015-07-20T16:32:42Z Jzagal 2 /* Getting Started */ wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= ===[[Interface]]=== [[:Category:Interface|See all entries in this hierarchy]] ===[[Rules]]=== [[:Category:Rules|See all entries in this hierarchy]] ===[[Entity Manipulation]]=== [[:Category:Entity Manipulation|See all entries in this hierarchy]] ===[[Goals]]=== [[:Category:Goals|See all entries in this hierarchy]] =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *Participating of the Ontology Project **[[General Structure for Ontology Entries]] **[[Available templates]], and what they mean. **[[Ontology Entry Format|How to format an Ontology entry]] **[[Example - Proposing a new entry]] *Wiki Editing **Cheatsheet for editing in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) **A more detailed list of wiki markup commands [[Work in Progress]] *Ontology Entries Currently Being Proposed *Ontology Entries Considered Out of Date *To-Do List [[Publications]] *2010 **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *2008 **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *2007 **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *2005 **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *References to similar or inspirational work =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[Image:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly maintained by the Experimental Game Lab at the Georgia Institute of Technology. a11c8ccdbc3e00468591630333c5df41669dd834 219 218 2015-07-20T16:31:10Z Jzagal 2 /* Getting Started */ wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= ===[[Interface]]=== [[:Category:Interface|See all entries in this hierarchy]] ===[[Rules]]=== [[:Category:Rules|See all entries in this hierarchy]] ===[[Entity Manipulation]]=== [[:Category:Entity Manipulation|See all entries in this hierarchy]] ===[[Goals]]=== [[:Category:Goals|See all entries in this hierarchy]] =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *Participating of the Ontology Project **[[General Structure for Ontology Entries]] **[[Available templates]], and what they mean. **[[How to format an Ontology entry]] **[[Example - Proposing a new entry]] *Wiki Editing **Cheatsheet for editing in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) **A more detailed list of wiki markup commands [[Work in Progress]] *Ontology Entries Currently Being Proposed *Ontology Entries Considered Out of Date *To-Do List [[Publications]] *2010 **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *2008 **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *2007 **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *2005 **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *References to similar or inspirational work =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[Image:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly maintained by the Experimental Game Lab at the Georgia Institute of Technology. 30c4e59a1f0c8580659e445381007ad922e4623c 218 217 2015-07-20T16:30:34Z Jzagal 2 /* Getting Started */ wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= ===[[Interface]]=== [[:Category:Interface|See all entries in this hierarchy]] ===[[Rules]]=== [[:Category:Rules|See all entries in this hierarchy]] ===[[Entity Manipulation]]=== [[:Category:Entity Manipulation|See all entries in this hierarchy]] ===[[Goals]]=== [[:Category:Goals|See all entries in this hierarchy]] =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *Participating of the Ontology Project **[[General Structure for Ontology Entries]] **Available templates, and what they mean. **How to format an Ontology entry **Example - Proposing a new entry *Wiki Editing **Cheatsheet for editing in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) **A more detailed list of wiki markup commands [[Work in Progress]] *Ontology Entries Currently Being Proposed *Ontology Entries Considered Out of Date *To-Do List [[Publications]] *2010 **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *2008 **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *2007 **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *2005 **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *References to similar or inspirational work =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[Image:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly maintained by the Experimental Game Lab at the Georgia Institute of Technology. 16dd4bb2234f5ef66ba81966ca176d1a329c19a6 217 216 2015-07-20T16:29:28Z Jzagal 2 /* Top-Level Elements of the Ontology */ wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= ===[[Interface]]=== [[:Category:Interface|See all entries in this hierarchy]] ===[[Rules]]=== [[:Category:Rules|See all entries in this hierarchy]] ===[[Entity Manipulation]]=== [[:Category:Entity Manipulation|See all entries in this hierarchy]] ===[[Goals]]=== [[:Category:Goals|See all entries in this hierarchy]] =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *Participating of the Ontology Project **General Structure for Ontology Entries **Available templates, and what they mean. **How to format an Ontology entry **Example - Proposing a new entry *Wiki Editing **Cheatsheet for editing in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) **A more detailed list of wiki markup commands [[Work in Progress]] *Ontology Entries Currently Being Proposed *Ontology Entries Considered Out of Date *To-Do List [[Publications]] *2010 **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *2008 **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *2007 **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *2005 **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *References to similar or inspirational work =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[Image:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly maintained by the Experimental Game Lab at the Georgia Institute of Technology. c4ed9510175bd200b611ebc0622af155b5920548 216 215 2015-07-20T16:29:20Z Jzagal 2 /* Top-Level Elements of the Ontology */ wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= ===[[Interface]]=== [[:Category:Interface|See all entries in this hierarchy]] ===[[Rules]]=== [[:Category:Rules|See all entries in this hierarchy]] ===[[Entity Manipulation]]=== [[:Category:Entity Manipulation|See all entries in this hierarchy]] ====[[Goals]]==== [[:Category:Goals|See all entries in this hierarchy]] =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *Participating of the Ontology Project **General Structure for Ontology Entries **Available templates, and what they mean. **How to format an Ontology entry **Example - Proposing a new entry *Wiki Editing **Cheatsheet for editing in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) **A more detailed list of wiki markup commands [[Work in Progress]] *Ontology Entries Currently Being Proposed *Ontology Entries Considered Out of Date *To-Do List [[Publications]] *2010 **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *2008 **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *2007 **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *2005 **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *References to similar or inspirational work =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[Image:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly maintained by the Experimental Game Lab at the Georgia Institute of Technology. 359c103d2612da42963593740c805fd97fb63bfa 215 214 2015-07-20T16:29:05Z Jzagal 2 /* Top-Level Elements of the Ontology */ wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= ===[[Interface]]=== [[:Category:Interface|See all entries in this hierarchy]] ===[[Rules]]=== [[:Category:Rules|See all entries in this hierarchy]] ===[[Entity Manipulation]]=== [[:Category:Entity Manipulation|See all entries in this hierarchy]] ===[[Goals]]=== [[:Category:Goals|See all entries in this hierarchy]] =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *Participating of the Ontology Project **General Structure for Ontology Entries **Available templates, and what they mean. **How to format an Ontology entry **Example - Proposing a new entry *Wiki Editing **Cheatsheet for editing in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) **A more detailed list of wiki markup commands [[Work in Progress]] *Ontology Entries Currently Being Proposed *Ontology Entries Considered Out of Date *To-Do List [[Publications]] *2010 **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *2008 **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *2007 **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *2005 **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *References to similar or inspirational work =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[Image:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly maintained by the Experimental Game Lab at the Georgia Institute of Technology. 2bce1ac986f32a22fecfe3165028914c0ab4e019 214 213 2015-07-20T16:28:53Z Jzagal 2 /* Interface */ wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= ===[[Interface]]=== [[:Category:Interface|See all entries in this hierarchy]] ==[[Rules]]== [[:Category:Rules|See all entries in this hierarchy]] ==[[Entity Manipulation]]== [[:Category:Entity Manipulation|See all entries in this hierarchy]] ==[[Goals]]== [[:Category:Goals|See all entries in this hierarchy]] =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *Participating of the Ontology Project **General Structure for Ontology Entries **Available templates, and what they mean. **How to format an Ontology entry **Example - Proposing a new entry *Wiki Editing **Cheatsheet for editing in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) **A more detailed list of wiki markup commands [[Work in Progress]] *Ontology Entries Currently Being Proposed *Ontology Entries Considered Out of Date *To-Do List [[Publications]] *2010 **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *2008 **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *2007 **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *2005 **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *References to similar or inspirational work =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[Image:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly maintained by the Experimental Game Lab at the Georgia Institute of Technology. f66b6408b7ceefa286e52e45bdfd724f53aedac2 213 208 2015-07-20T16:28:35Z Jzagal 2 /* Top-Level Elements of the Ontology */ wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= ==[[Interface]]== [[:Category:Interface|See all entries in this hierarchy]] ==[[Rules]]== [[:Category:Rules|See all entries in this hierarchy]] ==[[Entity Manipulation]]== [[:Category:Entity Manipulation|See all entries in this hierarchy]] ==[[Goals]]== [[:Category:Goals|See all entries in this hierarchy]] =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *Participating of the Ontology Project **General Structure for Ontology Entries **Available templates, and what they mean. **How to format an Ontology entry **Example - Proposing a new entry *Wiki Editing **Cheatsheet for editing in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) **A more detailed list of wiki markup commands [[Work in Progress]] *Ontology Entries Currently Being Proposed *Ontology Entries Considered Out of Date *To-Do List [[Publications]] *2010 **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *2008 **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *2007 **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *2005 **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *References to similar or inspirational work =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[Image:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly maintained by the Experimental Game Lab at the Georgia Institute of Technology. e4dced1cfd76e41d1c009e7be740103217f1108c 208 206 2015-07-20T16:26:00Z Jzagal 2 /* Top-Level Elements of the Ontology */ wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= [[Interface]] [[:Category:Interface|See all entries in this hierarchy]] [[Rules]] [[:Category:Rules|See all entries in this hierarchy]] [[Entity Manipulation]] [[:Category:Entity Manipulation|See all entries in this hierarchy]] [[Goals]] [[:Category:Goals|See all entries in this hierarchy]] =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *Participating of the Ontology Project **General Structure for Ontology Entries **Available templates, and what they mean. **How to format an Ontology entry **Example - Proposing a new entry *Wiki Editing **Cheatsheet for editing in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) **A more detailed list of wiki markup commands [[Work in Progress]] *Ontology Entries Currently Being Proposed *Ontology Entries Considered Out of Date *To-Do List [[Publications]] *2010 **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *2008 **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *2007 **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *2005 **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *References to similar or inspirational work =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[Image:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly maintained by the Experimental Game Lab at the Georgia Institute of Technology. ea89975559c23c06e7f2ac633b90d14d4c9279ae 206 205 2015-07-20T16:24:04Z Jzagal 2 /* Top-Level Elements of the Ontology */ wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= [[Interface]] [[:Category:Interface|See all entries in this hierarchy]] [[Rules]] See all entries in this hierarchy [[Entity Manipulation]] See all entries in this hierarchy [[Goals]] See all entries in this hierarchy =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *Participating of the Ontology Project **General Structure for Ontology Entries **Available templates, and what they mean. **How to format an Ontology entry **Example - Proposing a new entry *Wiki Editing **Cheatsheet for editing in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) **A more detailed list of wiki markup commands [[Work in Progress]] *Ontology Entries Currently Being Proposed *Ontology Entries Considered Out of Date *To-Do List [[Publications]] *2010 **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *2008 **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *2007 **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *2005 **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *References to similar or inspirational work =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[Image:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly maintained by the Experimental Game Lab at the Georgia Institute of Technology. 2e2c01f96e2dc10ab5c49f606c8703a3ec62ee4e 205 204 2015-07-20T16:23:01Z Jzagal 2 /* Top-Level Elements of the Ontology */ wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= [[Interface]] [[Category:Interface Entries|See all entries in this hierarchy]] [[Rules]] See all entries in this hierarchy [[Entity Manipulation]] See all entries in this hierarchy [[Goals]] See all entries in this hierarchy =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *Participating of the Ontology Project **General Structure for Ontology Entries **Available templates, and what they mean. **How to format an Ontology entry **Example - Proposing a new entry *Wiki Editing **Cheatsheet for editing in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) **A more detailed list of wiki markup commands [[Work in Progress]] *Ontology Entries Currently Being Proposed *Ontology Entries Considered Out of Date *To-Do List [[Publications]] *2010 **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *2008 **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *2007 **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *2005 **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *References to similar or inspirational work =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[Image:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly maintained by the Experimental Game Lab at the Georgia Institute of Technology. fab17393f01818f35311dc6675d5c3b70aa4fe00 204 200 2015-07-20T16:19:54Z Jzagal 2 /* Top-Level Elements of the Ontology */ wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= [[Interface]] [[Category:Interface|See all entries in this hierarchy]] [[Rules]] See all entries in this hierarchy [[Entity Manipulation]] See all entries in this hierarchy [[Goals]] See all entries in this hierarchy =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *Participating of the Ontology Project **General Structure for Ontology Entries **Available templates, and what they mean. **How to format an Ontology entry **Example - Proposing a new entry *Wiki Editing **Cheatsheet for editing in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) **A more detailed list of wiki markup commands [[Work in Progress]] *Ontology Entries Currently Being Proposed *Ontology Entries Considered Out of Date *To-Do List [[Publications]] *2010 **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *2008 **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *2007 **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *2005 **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *References to similar or inspirational work =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[Image:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly maintained by the Experimental Game Lab at the Georgia Institute of Technology. 217d6ada8866ea295ce33297e5d56f989aae23d8 200 199 2015-07-20T16:16:37Z Jzagal 2 /* People */ wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= [[Interface]] See all entries in this hierarchy [[Rules]] See all entries in this hierarchy [[Entity Manipulation]] See all entries in this hierarchy [[Goals]] See all entries in this hierarchy =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *Participating of the Ontology Project **General Structure for Ontology Entries **Available templates, and what they mean. **How to format an Ontology entry **Example - Proposing a new entry *Wiki Editing **Cheatsheet for editing in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) **A more detailed list of wiki markup commands [[Work in Progress]] *Ontology Entries Currently Being Proposed *Ontology Entries Considered Out of Date *To-Do List [[Publications]] *2010 **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *2008 **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *2007 **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *2005 **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *References to similar or inspirational work =People= [[Project Members|Members, past and present, of the Game Ontology Project]] =Related Projects= [[Image:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly maintained by the Experimental Game Lab at the Georgia Institute of Technology. 14438f280b3272d2f896d2dc53da0f508c720b76 199 198 2015-07-20T16:16:07Z Jzagal 2 wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= [[Interface]] See all entries in this hierarchy [[Rules]] See all entries in this hierarchy [[Entity Manipulation]] See all entries in this hierarchy [[Goals]] See all entries in this hierarchy =Getting Started= We welcome your participation! In order to get the most out of your experience, you might want to familiarize yourself with the project as well as how wikis work. * [[Frequently Asked Questions]] *Participating of the Ontology Project **General Structure for Ontology Entries **Available templates, and what they mean. **How to format an Ontology entry **Example - Proposing a new entry *Wiki Editing **Cheatsheet for editing in Wiki (the cheatsheet is for Wikipedia, but the commands are the same) **A more detailed list of wiki markup commands [[Work in Progress]] *Ontology Entries Currently Being Proposed *Ontology Entries Considered Out of Date *To-Do List [[Publications]] *2010 **Zagal, J. P. and Mateas, M., Time in Videogames: A Survey and Analysis, Simulation & Gaming, 41(6), 844-868. *2008 **Zagal, J.P., Bruckman, A. Novices, Gamers, and Scholars: Exploring the Challenges of Teaching About Games, Game Studies 8:2 **Zagal, J. P., Fernandez-Vara, C., Mateas, M. Rounds, Levels, and Waves: The Early Evolution of Gameplay Segmentation, Games & Culture. Vol. 3. No. 2, 175-198 *2007 **Zagal, J. P. and Mateas, M., Temporal Frames: A Unifying Framework for the Analysis of Game Temporality, Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2007), Tokyo, Japan, 516-523. *2005 **Zagal, J., Mateas, M., Fernandez-Vara, C., Hochhalter, B. and Lichti, N., Towards an Ontological Language for Game Analysis, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. **Fernandez-Vara, C., Zagal, J., Mateas, M., Evolution of Spatial Configurations In Videogames, In Proceedings of the Digital Interactive Games Research Association Conference (DiGRA 2005), Vancouver B.C., June, 2005. Included in the Selected Papers volume. ==Related Work using the Game Ontology== *Neubauer, S. (2006) - The Gameplay Video Segmentation Method *Söderqvist, T. & Larsson, C. (2006) - Items in Massively Multiplayer Online Role-Playing Games *References to similar or inspirational work =People= [[Members, past and present, of the Game Ontology Project]] =Related Projects= [[Image:GameLogBETA.png]] You might also be interested in using GameLog, an online system for keeping journals of your gameplaying activity. We have found it useful in our work on the Game Ontology Project. The Game Ontology Wiki was formerly maintained by the Experimental Game Lab at the Georgia Institute of Technology. e1ae39f56277d579427a0518ab97182586845556 198 197 2015-07-20T16:11:49Z Jzagal 2 wikitext text/x-wiki =Game Ontology Project= The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. =Top-Level Elements of the Ontology= [[Interface]] See all entries in this hierarchy [[Rules]] See all entries in this hierarchy [[Entity Manipulation]] See all entries in this hierarchy [[Goals]] See all entries in this hierarchy 4b8bc6b4612beadc860717806b3227d80b6f3382 197 1 2015-07-20T16:09:24Z Jzagal 2 wikitext text/x-wiki The Game Ontology Project (GOP) is a framework for describing, analyzing and studying games. It is a hierarchy of concepts abstracted from an analysis of many specific games. GOP borrows concepts and methods from prototype theory as well as grounded theory to achieve a framework that is always growing and changing as new games are analyzed or particular research questions are explored. The Game Ontology Project's approach is to develop a game ontology that identifies the important structural elements of games and the relationships between them, organizing them hierarchically. The use of the term ontology is borrowed from computer science, and refers to the identification and (oftentimes formal) description of entities within a domain. Often, the elements are derived from common game terminology (e.g. level and boss) and then refined by both by abstracting more general concepts and by identifying more precise or specific concepts. An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. This approach is well suited to exploring issues and questions regarding games and gameplay. The GOP provides a framework for exploring, dissecting and understanding the relationships between different game elements. A few examples of research questions we have already begun to explore include: "How can we understand interactivity in games?", "How is gameplay regulated over the progress of a game?", and "What roles does space play within games?". Some of our explorations are also available in the publications area. <strong>MediaWiki has been successfully installed.</strong> Consult the [//meta.wikimedia.org/wiki/Help:Contents User's Guide] for information on using the wiki software. == Getting started == * [//www.mediawiki.org/wiki/Special:MyLanguage/Manual:Configuration_settings Configuration settings list] * [//www.mediawiki.org/wiki/Special:MyLanguage/Manual:FAQ MediaWiki FAQ] * [https://lists.wikimedia.org/mailman/listinfo/mediawiki-announce MediaWiki release mailing list] * [//www.mediawiki.org/wiki/Special:MyLanguage/Localisation#Translation_resources Localise MediaWiki for your language] c21db6965c9c6cad5b637bfedd41a039260a8696 1 2015-07-16T22:13:30Z MediaWiki default 0 wikitext text/x-wiki <strong>MediaWiki has been successfully installed.</strong> Consult the [//meta.wikimedia.org/wiki/Help:Contents User's Guide] for information on using the wiki software. == Getting started == * [//www.mediawiki.org/wiki/Special:MyLanguage/Manual:Configuration_settings Configuration settings list] * [//www.mediawiki.org/wiki/Special:MyLanguage/Manual:FAQ MediaWiki FAQ] * [https://lists.wikimedia.org/mailman/listinfo/mediawiki-announce MediaWiki release mailing list] * [//www.mediawiki.org/wiki/Special:MyLanguage/Localisation#Translation_resources Localise MediaWiki for your language] 8e0aa2f2a7829587801db67d0424d9b447e09867 0 136 136 2008-12-18T21:05:31Z Jp 0 8 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Some games provide the player a level of direct control over his avatars actions. For example in Tomb Raider (Douglas, 1996), there is a one-to-one relationship between the players input and Lara Crofts motions on screen. When the player pushes up on the joystick or joypad, Lara moves forward, when he pushes left, she turns left, right, she turns right. Other games take an interface approach more like the graphical user interfaces found in modern computer operating systems, using either menus or point and click interfaces. Combat within Final Fantasy X (Nakazato et al., 2001) is handled through a series of onscreen menus within which the player chooses what actions his players will take during the combat. In Sam and Max Hit the Road (Clark et al., 1993), Sam and Max interactions with the rest of the game world are determined by players choosing an action to perform from a menu and clicking on an object using a mouse. Please note that a game can use multiple approaches to its control mapping. The previously mentioned Final Fantasy X (Nakazato et al., 2001) provides player controls that directly map to their party's movements in the game map, but use a menu interface for combat actions. Grand Theft Auto: Vice City (Rockstar Games, 2002) provides direct mapping for most of the player avatars actions, but a menu interface when purchasing items at a shop. Neverwinter Nights (Oster et al., 2002) provides a control method through which players directly control their characters movements, but use a point and click interface with contextual menus to attack, talk with, use skills upon, or otherwise interact with other game entities. There are also games that provide multiple approaches for the same control. In other words, the player can choose whether how he wants to control objects. For example, in Bejeweled 2, the player can choose to select two gems to swap by clicking on them (indirect) or he can drag one gem over the other (direct). In this case, the action for swapping gems can be performed using two different types of manipulation methods. ---- ====Parent==== *[[Input Method]] ---- ====Children==== *[[Direct Manipulation]] *[[Indirect Manipulation]] ---- ====References==== Clark, S., Michaud, C., Purcell, S., and Stemmle, M. (1993). Sam & Max Hit the Road. LucasArts, dos edition. Douglas, P. (1996). Tomb Raider. Eidos Interactive, dos edition. Nakazato, T., Yoriyama, M., and Tsuchida, T. (2001). Final Fantasy X. Square Electronic Arts L.L.C., Playstation 2 edition. Rockstar Games, developer (2002). Grand Theft Auto: Vice City. Rockstar Games, Playstation 2 edition. 293252f338b838bb744823142c3001f987f300a9 0 137 137 2009-08-15T15:25:19Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Some games provide a map as part of the head up display so players can orient their movement in relation to areas of the game world that aren't immediately visible in the game's main view. Some games place these maps in a special map section in the HUD, as in Metal Gear Solid [Kojima, 1998], Warcraft III: Reign of Chaos [Pardo, 2002], and Mario Kart 64 [Konno, 1996]. Other games overlay their map display over the main view, as in Diablo [Brevik and Schaefer, 1996]. Another approach is to temporarily replace the game's main view with a map view, as in Silent Hill [Kitao and Gallo]. ---- ====Part-Of==== *[[Head Up Display]] ---- ====References==== Brevik, D. and Schaefer, E. (1996). Diablo. Blizzard Entertainment, windows edition. Kitao, G. and Gallo, M. (1999). Silent Hill. Konami Corporation, U.S. release, playstation edition. Kojima, H. (1998). Metal Gear Solid. Konami Corporation, playstation edition. Konno, H. (1996). Mario Kart 64. Nintendo, nintendo 64 edition. Pardo, R. (2002). Warcraft III: Reign of Chaos. Blizzard Entertainment, windows edition. 6de6ad641d03c35adafe5a9c1da8fb9cff97d460 0 138 138 2008-12-18T21:05:32Z Jp 0 10 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Some games provide a series of menus through which the player controls game entities that is analogous to menu systems found in interactive kiosks. The sophistication of these menu interfaces ranges from simple, flat menus to deeply nested menus with many sub-options. The specific representation of menu interfaces can vary as well, some games representing menus as a series of graphical buttons, others using text menus. Menu interfaces commonly appear the beginning of a game, often at the title screen regardless of how menus are used later in the game. Past the opening menu, games often provide an option menu for saving. While these examples constitute menu interfaces, many games include menu interfaces to control entity actions as well. ==Examples== ===Strong example=== ====Final Fantasy Tactics==== Final Fantasy Tactics [Itou, 1997] makes heavy use of menus to determine the actions of player controlled entities within the game. While in combat (the game's primary activity), players select from a menu of available actions including move, attack, skill and item use. When buying items in a shop, players select desired weapons, armor or other items from a menu of available options. ====Kingdom Hearts II==== This games' progressive system of interactive menus, both in and out of battle, organizes and collects game data for the player, such as which actions Sora or any of the other characters are capable of performing, which buttons are keyed to which actions, what spells to be used, where items go, etc. The menu changes based on whether the character is in battle or simply walking around the environment. ===Weak example=== ====Lifeline==== Lifeline [Konami, 2004] provides the user a speech command interface that essentially works through a series of menus to execute the player's commands. While the game doesn't represent these menus visually, the player's commands are parsed by the speech recognition system such that they correspond to predetermined "recognized" commands. ---- ==Parent== *[[Indirect Manipulation]] ---- ==Children== None ---- ====References==== Itou, H. (1997). Final Fantasy Tactics. Squaresoft, playstation edition. Konami, developer (2004). Lifeline: Voice Action Adventure. Konami Corporation, playstation 2 edition. 376aeaa406831256d03ab2d2d05b0e0a8abebed2 0 195 195 2009-10-10T02:21:59Z Jp 0 /* Rock Band */ wikitext text/x-wiki {{proposal}} ==Definition== A microphone is a input device that uses a thin membrane which vibrates in response to sound pressure. This movement is then translated into an electrical signal. Microphones come in various shapes and sizes and are sometimes embedded directly into console hardware, such as the Nintendo DS. ==Examples== ===Strong Examples=== ====Rock Band==== In Rock Band, one of the players can sing into the microphone and earn points by matching the pitch and timing of the music's lyrics. ====Nintendogs==== In Nintendogs players can teach their pets voice commands, such as their names, "roll" and others. ==Relations with other elements of the Ontology== ===Parent=== *[[Input Devices]] ff3a0ecb37c1fdde5bf1d0d543d150c6ec388619 0 139 139 2008-12-21T17:49:56Z Jp 0 Reverted edits by [[Special:Contributions/190.216.249.4|190.216.249.4]] ([[User talk:190.216.249.4|Talk]]); changed back to last version by [[User:Jp|Jp]] wikitext text/x-wiki {{outofdate}} [[Category:Ontology]][[Category:Rules]] Many games employ a scheme where the player (or the character/s controlled by the player) is given special assignments with specific objectives that need to be carried out. These assignments usually take place under pre-scripted conditions and are ordered by some greater authority within the game. The can take place in locations that are unique to that certain mission (as in, not connected or reachable from the gameworld in general) or sequentially. For example, the player might control a soldier in WWII. He is part of an amphibious landing and his mission is to neutralize an enemy cannon. Once the cannon has been neutralized, the player is congratulated and informed of his new mission. This time he is to help secure a bridge from enemy forces. Segmenting a game into missions is quite common in games with a strong military theme. For example, games where players control soldiers or military vehicles. However, they are also commonly used in games with other themes. For example, many fantasy role-playing games have the player receive quests that are effectively missions with a different name. While most games employ a one mission at a time structure, newer games featuring more open ended environments allow a player to have several missions available at the same time. Some of these missions might be central to the development of the game while others ==Examples== ===Strong Examples=== "Fallout II" Fallout II is a strong example for mission based gameplay, since these quests are the backbone of the story. In order to progress through the narrative of the gameworld, the player must complete main story quests. By completing these missions, the story progresses, and the player becomes further immersed within the virtual diegesis. A strong example in the game itself, is when you first create your character. After changing your stats and picking all of your special abilities, the player is immediately thrown into a dungeon. Upon checking your journal, you realize exactly what you are supposed to do. In order to achieve escape, you must face another tribe member in battle. By defeating the local tribemen, you achieve freedom from the dungeon and this allows the player to move on within the narrative. It also helps to develop the narrative, since some games would not pit you against one of your own allies. ''Final Fantasy XII'' Final Fantasy is full of side quests and missions one must accomplish to trigger specifice events or recieve special items. Specifically, there is a feature in the game called Hunts. Hunts are the key to unlocking side events and optional bosses. One also earns extra gil, exp., and items. These hunts usually require a few steps till the mission is complete. One must find the flyer displaying the hunt, then locate the person who petioned the hunt. After this you must locate the monster and kill it. Finally you must go to the clan centurio to collect your prize. ''Pokemon: Leaf Green'' In Pokemon: Leaf Green you are dominated by missions and in order to advance anywhere in the game you either figure out the fastest route or go through a mission. The mission may range from anything as simple as taking an item to a person or going through a gauntlet of battles, retrieving an iten, and cutting a path. Missions are what makes this game not only addicting, but give it great depth and presents challenges to any kind of player. ''Elder Scrolls IV: Oblivion'' In The Elder Scrolls IV: Oblivion, you gain missions by talking to different NPCs or by being at the right place at the right time. This is a strong example because the missions are the only driving force in the game (besides wandering and leveling up) and it is the only way to progress the story. This is a game that does not force you to do any mission (except a small tutorial mission at the beginning of the game) therefore it is truly open-ended. While their are mission branches that begin by joining a Guild, such as The Dark Brotherhood, you can have multiple missions in your log at once, and their is nothing that forces you to do a specific one next. ''Advance Wars'' In Advance Wars, the player controls a military commander who must defeat the enemies of the country he represents. The game is structured as a series of missions that must be tackled one at a time. Each mission presents the player with a map where enemy forces are present. The player usually has to plan, build and manage his army and maneuvers it to defeat the enemy. Each mission has special victory conditions (such as a time limit or restrictions on available resources) and unsuccessful missions must be played again. ''Grand Theft Auto: Liberty City Stories'' In Grand Theft Auto: Liberty City Stories the player must complete missions within the gameworld to unlock other missions as well as to further develop the narrative. The player often has a choice between many possible missions which they may play. Some missions are trial and error, but some take some planning and skill within the game to succeed. ''Starcraft'' The Starcraft Campaign is a series of missions, usually involving destroying your enemy, defending your base, or retrieving an item. Completing a mission unlocks the next one. Starcraft is a military themed game. ''Katamari Damacy'' While it couldn't be further from military organization, Katamari Damacy provides a great example of mission-based gameplay. On the world map, the player selects a level and enters the world specific to it. In each level, the player is faced with a specific mission. In many, the player must gather as much mass as possible in an alloted time, while in others the player must avoid certain items until he is large enough to roll up a specific, and large, item. Not until the player maxes out his gamesave is he given the option to just play. This feature is mission-related, as one must achieve a certain size before missionless play can be reached. (Davehansen) "Goldeneye 007" In this game, the player gets to be James Bond and complete a number of spy-related missions. This game works especially well within the "mission" format because of the nature of spying. Spying involves sending an agent on secret missions to perform or achieve a set of certain and specific objectives. While this is not a military based game, the levels are broken into "missions" for the same reason a war game might be. ''Spy Hunter'' In Spy Hunter the player is given a clear set of objectives for each mission. One objective is usually a primary objective while the others are secondary objectives. A point is given to the layer once a primary objective is achieved and for secondary objectives given the primary objective is also completed in the same level as well. The player advances through missions by reaching certain point levels and unlocking them. Missions can range from firing tracker bugs onto moving vehicles to destroying radio towers. "NHL 2003" This is a good example of strong mission game play because the mission in the individual games is to win but the ultimate goal is to win the championship. The first mission the player faces is each game. To defeat the team and to get a good enough record at the end of the season to be in the playoffs. Then the mission is to win each series in the playoffs and to make it to the finals. Then the ultimate goal or mission is to win the finals. This is an ultimate feeling of accomplishment because it is a lot of work to win enough games to make the playoffs, beat the very hard teams you meet in the playoffs, and defeat the other best team in the league for the finals. ''Grand Theft Auto: San Andreas'' This is a strong example of mission gameplay, because there are numerous objectives in the game that you must complete through missions that are assigned to you by random characters in the game. After you complete a mission, there are many other missions that await you. ALl the missions assigned to you are pretty straightfoward. You gain more respect and numerous other beneficial attributes from other charactes in the game every time you complete a mission. ===Weak Example=== ====King's Quest 7==== King's Quest 7 is a weak example of mission gameplay. It is the player has several objectives within each section of the game but there is no clear mission that must be completed. Each task that the character completes, leads to another task and when those series of tasks are completed, the character enters a new land to complete another series of tasks. Each task is completed in order to learn more about the story. There also is no main mission to save anything but to simply reunite with the other main character. ====Everquest==== In Everquest, there are various missions that can be acquired by talking to non-player characters throughout the world, but their purpose is more to help you along in your journeys rather than be the backbone of the gameplay. It is entirely possible to get to the highest level without completing any quests (missions), but it would take a lot longer. ====Counter-Strike==== This is a very weak example of mission gameplay, because the only rules of this game are to kill all the players on the opposing team, defuse the bomb, or plant the bomb and wait for it to explode. Each round, you carry out the same mission objective, and every round is pretty much repetitive. There's also no storyline for this game, because it's a multi-player first-person shooter game, which doesn't have any complex gameplay or missions to carry out. You can get more money when you complete a mission, in which you can buy more weapons, ammo, kevlar, etc., but your character is still unable to advance or gain any skill. ====Burnout 3: Takedown==== In one aspect of single player mode you complete a world tour where you race and crash in locations all over the world. These races are poor examples of missions because they are not made unique. There is no story or background given before as to why you want or must win the race. No explanations are given as to why you take the actions you do. ==Parent== *[[Challenge Segmentation]] ---- ==Children== None 7c2fceb0f28610eb729d9ec6e1047558c956c04d 0 140 140 2008-12-18T21:05:42Z Jp 0 93 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] Multiplayer games are those that can be played by more than one person simultaneously. The players actions in the game do not necessarily have to be concurrent or even synchronous. Multiplayer games are generally structured so that each of the participants is competing directly with the others. Other games are structured in teams, where groups of participants are cooperating against an opposing team. There are also cooperative games where the players collaborate together. ==Examples== ===Strong Examples=== ====Guilty Gear==== Guilty Gear pits friends and foes one on one in a familiar but extremely extended realtime fighting engine. What one player does will immediately and irreversibly affect the other. This leads to a constant struggle of power and position, forcing one to react in response to the other or be destroyed. Utilizing the broad assortment of moves and engine maneuvers, each player has a rather full bag of tricks that facilitate trap setting, deception, attack, defense, recovery, and punishment for making mistakes. ====Mario Kart:Double Dash==== Mario Kart: Double Dash is a strong example of a multiplayer game. This is a racing game in the Mario universe. It has a single player mode, but the multiplayer aspects are where this game shines. Each car has two characters, that can be controlled by one or two players. One can drive, one can throw items, or one player can perform both. By hooking up four gamecubes, this game allows for up to 16 players to simultaneously race. The game also has another multiplayer battle mode where instead of racing around a track, the players can battle head to head with items in special battle arenas. Even the grand prix mode, which is used to unlock new characters and cars can be played by two people against the computers. This game is tailored for a multiplayer experience. ====Tribes 2==== Tribes 2 is a team based multiplayer first person shooter. It takes the standard planar FPS and adds the vertical demention by giving every player a jetpack that functions on the players energy bar. Players can choose 3 different armor classes which affect hitpoints movement speed energy usage and what weapons they can use. Because of this diversity, Tribes 2 encourages a balanced team of light, mid and heavy armor classes to work together to destroy the other team or to capture objectives. It also has free for all multiplayer modes in addition to its team based content. ====Madden 2007==== Madden 2007 is a strong example for multiplayer because is was made with the intent of being a multiplayer game. It allows you to compete against other people rather than just the computer, or on the same team against the computer. With an internet connection it can be played with people all over the world. ====Marvel vs. Capcom: Clash of Superheroes (Kaillera 4P version)==== This arcade game can be played online with three other people. In this four player version, each player can pick one character to be part of a tag team match, much like Tekken Tag Tournament. But since this is online, you can also chat online with your partner, who may be thousands of miles away, and co-ordinate attacks or even trash talk together. ====Mario Party==== Mario Party is a strong example of a Multiplayer game because of the obvious multi-player options available, each player can choose a character and play the game in a cooperative manner. ====Shadows Over Mysteria==== This game is an arcade game that is multiplayer for up to four players. Each player chooses their class and then cooperates to win. ====Battletoads==== Battletoads for the SNES is a strong example of a game that has the multiplayer option. 2 players can play this game at the same time. Playing as the characters Zits, Rash, or Pimple, the players control their characters through a variety of 2d levels where they fight valkyrie pigs, giant wasps, rats, and other opponents. The players have seperate lives from each other, but if one player loses all of their lives, both characters must start the level over again. ====Tony Hawk Pro Skater 4==== This game is a strong example because two players can play the same level at the same time in "free skate" mode, allowing them to do what ever they want. Also, there are multiplayer options to change the game type to horse, slap, or many others. So, essentially there are several different multiplayer games to choose from, and this is a nice option to have compared to fighters like Mortal Combat that have only fighting style games in multiplayer. ====Counter-Strike==== This is an excellent example of a multi-player game. There is no option to play a single player. All the gameplay occurs online playing against other players from around the world. It is team based. There are two teams that battle it out between each other. How well the group works together as a team determines who will win the battle. Counter-Strike is one of the best examples of a multiplayer game. Thousands of people are logged in at a time to join eachother in an online shootout. This game was definately revolutionary in the multiplayer genre of games. When counter-strike was devolped it was solely an online game striclty developed for multiplayer. The excitement is far greater online with other real people than a singe player game. The game can hold more than 75 people in one level all playing at the same time. This excitement along with the quick based rounds, let to a multiplayer revolution that became very popular. ====Madden 2007==== This is a strong example of multiplayer because player compete against eachother in a competitive manner. This can be done online or with two players on one screen. Whoever has the higher score at the end of the time is the winner. ====MLB2k6==== This is a strong example because you can play up to 4 players in multi player with a variety of game modes. At all times you can play 2 on the same team or against each other....Plus you can choose to partake in a home run derby where you can play against one another ====Street Fighter==== In Street Fighter two players may compete directly against each other simultaneously. Players choose a character and use the character's fighting abilities to defeat their opponent. Both players have full access to the complete state of the game. They can view their remaining health as well as the opponent’s remaining health and change their strategies accordingly. Furthermore, they can play with a timer that, coupled with health, will also change their strategies. Finally, both players may have a view of the control manipulation of the other player because they occupy the same physical space. Experienced players may modify their fighting strategies based on the button use of the other player. ====Sonic 2==== In Sonic the Hedgehog 2 for Sega Genesis one may play as a single player, or in a multiplayer mode. This multiplayer option functions on a split screen, with each player progressing through the game at the same time. It differs from the typical platformer multiplayer, in which the two players play independent games, one after another. And while each player interacts with each other less than in a shooter game, the feeling of playing with someone else is undeniable. ====Marvel vs. Capcom 2==== Essentially all fighting games are a multiplayer experience weather playing against a human or computer opponent, although the level of interaction is different the game is essentially multi-player always requiring a second consciousness in order to play. ====Halo 2==== Halo 2 offers a number of multiplayer options. In the campaign mode, players can choose to play cooperatively. The aptly named "co-op" allows up to two players to proceed through the story mode. There are different strategies incorporated with the multiplayer campaign mode. There is also a split screen component of Halo 2, in which up to 16 players can join one game. These split screen games involve players forming teams to complete team associated objectives (ex. capture the flag). There are also free-for-all games in which players compete for the most kills or related objectives. ====World of Warcraft==== In the game World of Warcraft you play with millions of people, which is considered as a massive multiplayer game. World of Warcraft is a massive online role-playing game where you are playing under a real-time game with other online players. In this game you can choose to play with your friends or go against your friends depending on the factions (Alliance//Horde) you and your friends pick to be. In the game you are able to form groups with other players to complete quest's that are given to you through out the game. You are able to group up to 40 people in a party to take on larger tasks that are in the game, known as raid instances. There is also the pvp part of the game, which allows you to go against other online players in a contested area of the game or in a pvp instance known as Battle Grounds. Overal World of Warcraft is a massive multiplayer game where you play as your own character but also with thousands of other people like yourself who are in the same server as you. ====Super Smash Brothers Melee==== In this game you can have up to four players competing agianst each other or you can create teams with up to four people. Players much choose a nintendo character and use their fighting styles and tecniques to defeat their opponent. You can also choose any level you want to play on. This makes a very good multiplayer game because it is fun and allows you to choose and set you style of game play which make it even more exciting when you play with your family or friends. This game does have a single player campaign mode but in reality most people may beat the campaign once but play the multiplayer aspect of the game a much larger amount of times because it is much more fun. ====Tom Clancy's Rainbow Six Vegas==== In Rainbow Six Vegas you can work with friends to complete missions. In what could be done alone can be done with the help of others. By having other teammates the team can approach situations tactically finding the best possible way to get the missions done. There are also other multiplayer modes such as death match or V.I.P. escort that add more aspects to the game. This can be played with up to 16 other people. This mode becomes less tactical and more "killing each other". ====Pikmin 2==== In Pikmin 2, two players can play with each other to accomplish goals and get treasure or they can battle each other. In the co-op challenge mode, one player plays as Captain Olimar and the other as Louie, a delivery man, and they must work together to finish the level, bring back as many Pikmin as possible, and get all the treasure before the time limit runs out. In battle mode, Capt. Olimar and Louie build their own armies in order to capture the other player's marble or collect four yellow marbles. ====Tekken 5==== In Tekken 5 for the PS2, two players can play against each other. Just like many other fighting games, the two players compete against each other to see who is the better fighter. ====Dead or Alive 4==== In Dead or Alive 4, you are able to get up to four players or two players co-op to fight till death. Players must choose fighters to battle against each other. With learning a variety of new moves, players are able to develop skills that are fit for a certain style depending on who the character is. This game provides more capabilities that the players are able to take advantage of. There are a variety of different modes where a player can take part in. This is a great game to get into because not only you are able to battle your friends that are next to you, you are able to play against hundreds of other players. Players online are able to play simultaneously in large groups, play in tournaments, etc. ====Goldeneye 007==== Goldeneye 007 for the nintendo 64 is a great example of a multiplayer game. Yes, it has a story mode in the game which you can play in single player, but you can also play it in co-op with a friend. The multiplayer section includes different maps to defeat your friends on and different types of weapons. There are several levels the players can choose from to battle each other to the death. The choices the players have for weapons is vast with such options as power weapons or proximity mines. The options for lives or points adds another aspect to the game giving the players various ways to switch up the game for everyone as well. A map on the upper left hand of the screen aids each player by showing how close the other players are to them giving some advantage. ====Final Fantasy: Crystal Chronicles==== In FF:CC, up to four players can link their Gameboy Advance systems and play throughout the whole game simultaneously. Players get to customize their characters, fight through dungeons, shop in towns, and battle epic bosses all together in multiplayer action. It is possible to play this game one player, but hardly anyone does since it was designed to be played by more than one person. ====Tony Hawk's Pro Skater 3==== This game can be played in single player mode, but it is in multiplayer mode that this game truly shines. Instead of working towards odd objectives such as, ollie over the hobo, etc., multiplayer mode reflects the actual world of skateboarding by encouraging players to skate as hard as they can and focus on busting as fat as possible. Players are given a time limit and released into the ultimate skateboard world. It is then their mission to skate in a mildly competitive context and do the most interesting and difficult tricks. Whoever gets more points for doing better tricks and more complicated combo's, wins the match. ====Perfect Dark (N64)==== Perfect Dark is a shooting game that can be played with up to four players with the right amount of controls. The four players can either play against or with each other in this game. Each player can change their guns, are allowed to move around freely, and may choose their character's look. The story mode can also be played co-op with another player, which makes this game a great multiplayer example. ====WarCraft III==== WarCraft III is a game that can be played in a single player mode but it is the multiplayer mode that makes the game worth playing. During the multiplayer mode you can choose to play with up to 2-16 different players and each can choose between the four different races in the game. How you break up the teams is up to you, 2 on 2, 1 on 3, or even 8 on 8. You can even take the game online and play with gamers all over the world all with one thing on their minds. Taking out the opposing forces using any means necessary, or allowed in the game rules. ====SoulCalibur II==== This is a multiplayer game because more than one person can play this game. You can either choose to fight with the game or with another person. There are a variety of characters to choose from and two people can play fight against each other with the choice of whoever character. It is a good example of multiplayer ==== Everquest ==== Clearly, Everquest is a strong example of multiplayer gaming. The game is practically impossible to play if there are no other people playing on your server. Unlike newer MMOs like World of Warcraft, not every class can achieve the highest level alone. Thus you are forced to group with other players at some point in the game, even at lower levels. Since there are so many different servers with different amounts and types of people, the economies and guild structures are extremely varied from server to server. Everquest also on a very large scale becomes interation between players. 100 person raids of dragons have to be well strategized and synchronized between each individual using the skills of his class to defeat the foe. PvP servers also add another ripple to the multiplayer experience, where besides just random killing a raid must always be on the look out for players who find enjoyment in aiding the computerized dragon in dismantling the well formed raid. ==== Unreal Tournament ==== Unreal Tournament is a First Person Shooter originally for PC. While the game does contain a single player mode, the main reason people play the game is to play against other people online. Unreal Tournament, now at version 2004, is one of the most played multiplayer First Person Shooters on the internet. ==== Starcraft ==== Starcraft is a strong example of a multiplayer game because of the ability to play with and against other players. Either through LAN or using the integrated online play, players can connect their computers together and either fight against each other and see who can destroy the other players base, or can play UMS(user map settings) and achieve a specific goal that can force you to work cooperatively with other players. ====Mortal Kombat==== Mortal Kombat is easily one of my favorite games to play multiplayer. The game does have a single player mode in which the player must defeat several opponents as they increase in difficulty, however playing a friend on multiplayer has its own appeal. Each player gets to choose from several characters who each have their own unique powers and moves. Getting accustomed to each character is half the fun as each player tries to figure out the secret moves while battling each other. Also, selecting the fatality option makes beating your friend even more entertaining as they are killed in the most gruesome ways. ====Mario Kart==== Mario Kart for Nintendo 64 is by far one of the grestest games for multiplayer. Although the single player is available, racing with other players is extremely fun to play with two to four other players. Four courses are grouped together to win as a single championship. Players place in either first, second, or third at the end but must come in at least fourth place in each course in order to move on to the next track. Although speed is important, the end result varies since players can slow eachother down by using weapons to hit each other with. Each player can choose which character to be from Mario to Toad. Although the goal is to place as best as you can, the fun of just trying to beat your friends makes the game worthwhile to play over and over. ====Diddy Kong Racing==== Diddy Kong Racing for Nintendo 62 is a strong example of a multiplayer game because of the variety of options players have in multiplayer mode. Players can choose between racing on any track that has been unlocked and each individual can even choose what kind of craft they want to race in. Players can choose to race on a course with only the human players in the race or they can add computerized racers. There are also the options of players playing a trophy race which includes a mad dash through all levels in a single world. To top it off there is the option of players competing in a series of challenges such as seeing who can gather a number of eggs first. ====Project Justice==== A “Versus mode” provides the multi-player component to this fighting game. In multi-player the character ordinarily controlled by the computer opponent is instead controlled through a second game pad. Two players are then competing directly against each other with button combinations and attacks influencing the health of the opponents character. Both players have the same goal of using button combinations to cause the opponents health gauge to reach zero, also creating conflict. ====Wii Sports==== wii sports is a strong example of a multiplayer game. each player can compete on teams, or individually against the computer, amongst themselves (who can get the higher score), or head to head. Tennis, baseball, bowling, Golf, Boxing; the choice of which way to compete in multiplayer play is up to you! ===Weak Examples=== ====Heroes of Might and Magic III==== Heroes of Might and Magic III is a weak example of multiplayer because of the many problems that are associated with complex turn based games. While at first, player’s turns are quick due to limited playing options at the games start, the game begins to lag with each turn as players take longer and longer in exhausting what they can do in one turn. Single player skips over this downside by simply computing ai turns with the click of a button. This brings to forefront another multiplayer annoyance. When playing with ‘friends’, turns get ‘accidentally’ skipped if one takes to long in getting back to the computer since there is no protection against someone playing your turn for you... ====Devil May Cry 3==== Devil May Cry 3 displays a very weak example of a multiplayer game. It only has one part in the game that is multiplayer, and that is toward the end of the game. The first player, playing as the character Dante, must fight one of the final bosses. During this fight Dante's brother Virgil joins in the battle. Virgil is controled by the computer, but for that part of the game, a 2nd player can pick up the other controller and control Virgil to help Dante win this battle. The option of a multiplayer for such a small fraction of the game seems pointless to me, but they did include it. ====Final Fantasy VI==== In the Config section of the menu, there is a Controller option with the choices of Single or Multiple. With this, a player can choose to assign characters in the party to the first or second controller. This way, two different people can control the actions of the characters in battle. This is a weak example of multiplayer because the second controller/player can only control things in the game during battles, and in all other instances the first player has control over the majority of the game. ====Animal Crossing==== In Animal Crossing, multiple players can be mapped to separate player-characters and occupy the same town, but no more than one player can interact with the gameworld at a time. The consequences of certain actions by one player, like planting a tree or buying items from the ingame store, persist for other players when they play the game and load the same town. However, other actions are relevant only to each player. For example, each player has a daily treasure that is buried. ====Tales of the Abyss==== In Tales of the Abyss for the PS2, only one player could control the main character during maps and exploration, but during battle, up to four players could each control a character. Since multiple players can only play during battle and not during every part of the game, Tales of the Abyss is a weak example of Multiplayer in a game. ====Grand Theft Auto: San Andreas==== Within GTA San Andreas, there is an ability the first player has to allow a companion to join. It is not outlined in the game, so it seems as if it is almost a secret. The missions cannot be played with two players, consequently resulting in simple two player destruction and mayhem. The players do not have full range of movement. Many would hesitate to call GTA a multiplayer game, because the story only corresponds to the first player. ====Civilization III==== Civilization III provides an example of a game with weak multiplayer gameplay. At face, it seems that there are multiple players, due to the fact that you are trying to build your civilization up before the others do. However, unless played online, the leaders of the other civilizations are not controlled by another person. Almost always, you face a bunch of computer controlled opponents. And this is indicated by the vast available selection of options for the computer's difficulty, land, and how to win the game. ====Ikaruga==== Ikaruga is a mostly single player arcade style game. It gives the player the option to co-op with another player but you only play through the exact same single player just with a friend. The game offers no head to head multiplayer type gameplay. This together makes Ikaruga a weak example of multiplayer. ====Guitar Hero 2==== This game can be played with two players, but another guitar controller is needed to play multiplayer mode. You cannot play more than two players either, so it doesn't really make it a "multiplayer" game. There are a few options to playing multiplayer, for example, you can play against each other or with each other on a song, or one can play bass and the other the guitar. ====We Love Katamari==== We Love Katamari does have a two player mode. However, the setting seems to overwhelm the relatively underpowered PS2, which can only handle worlds a fraction of the size of the single player levels and not nearly as many items. I Love Katamari is technically a multiplayer game, but the feature is more of a bullet point or an afterthought than a serious part of the game. It is also not very fun. ====Final Fantasy IX==== Final Fantasy IX is a weak example of multiplayer because, though it technically includes multiplayer, its limited to random battles, and is not widely advertised throughout the game, but is instead a setting embedded in the config menu. A second player can take control of characters assigned to them, but again its almost hard to find and is totally unnecessary, with no place for the second player most of the time. ==Parent== *[[Gameplay Rules]] ---- ==Children== *[[Cooperative Multiplayer]] 2bd71cb075776583d260993949679cbeb6ec3113 0 141 141 2008-12-18T21:05:42Z Jp 0 10 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] The player controls a number of game entities and through them can perform operations on objects in the gameworld. This control is often provided through a non-embodied cursor through which he can select his game entities to operate on with keyboard or menu based commands. The cursor is non-embodied in that game entities cannot manipulate the cursor (ie, cannot damage, kill, disable or otherwise change it) nor can it manipulate entities in and of itself (ie, it only selects entities to which actions that damage, kill, heal, etc. will be applied). See also: [[Third-person Perspective]], [[Targeted Camera]], [[Roaming Camera]] ==Examples== ===Strong Examples=== ====Starcraft==== Like many other real-time strategy games, Starcraft (Metezen and Phinney, 1998) provides players control over the game through a cursor arrow that can be used to select and manipulate game entities. The arrow itself does not constitute a unit itself, but provides the player a means of manipulating a number of game entities. ====Super Robot Taisen: Original Generation==== In Super Robot Taisen: Original Generation (Banpresto, 2002), as in nearly every other tactical RPG, you control your party by selecting them with a cursor. In here, it is a highlighted box; after you select a character, you gain access to a menu to determine what actions to take. After that, you can select a recipient of the action with the same cursor. The cursor cannot do anything itself, but simply lets the player select which unit to take action next. ===Weak Examples=== ====Tecmo Super Bowl==== Tecmo Super Bowl (Tomie, 1991) allows players to control multiple entities (American football players) by cycling through all the players via a button press. However, the player can only direct a single entity at a time. Furthermore, cycling is only allowed when the player is playing as the defensive side. When the player is on the offensive side the player can only control the entity in posession of the football. ==Relations with other elements of the Ontology== ===Parent=== *[[Locus of Manipulation]] ===Children=== None ==References== Metezen, C. and Phinney, J. (1998). StarCraft. Blizzard Entertainment, windows edition. 6eecd327b106d6c663f349da7671370e0dcf556b 0 142 142 2009-08-19T22:15:41Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] Many games, in particular narratively driven ones, end when the story is told or uncovered. We draw an analogy between playing a game and reading a book. A game ending due to narrative exhaustion is like reaching the end of a book. The player knows the end of the story and is not allowed to continue playing (the player may, of course, play the game again). Many games end with a simultaneous exhaustion of both the narrative and the gameworld (see gameworld exhaustion) since they are tightly integrated. ==Examples== === Strong Examples === ====Baldur's Gate 2: Shadows of Amn==== The end of the storyline of Badur's Gate signals the end of the game. The game has an extremely open, non-linear structure within each chapter. For example, each chapter has many optional side-quests that can be very fun, and can give background, but are non-essential to the main story arc. As you finish each chapter, many of these side-quests close off and become unavailable, or unfinishable. With the closing cinematic of the final chapter, you cannot continue playing the game, despite the fact that you may have many side-quests still unfinished, glaring at you from your quest log. ====Metal Gear Solid 3: Snake Eater==== This is a strong example of a Narrative exhaustion because when the story line of a game ends and the final cinematic cut scene is over, credits begin to roll. The only option to continue playing is the mini games, or to start over completely and play with knowledge of how the games story will progress. Essentially, after beating the final boss and watching the last movie cut scene, the game is over. ====Final Fantasy VII==== Final Fantasy VII is completed when the story ends with the cut-scence after defeating the final boss. This is common for a final fantasy to build up to one big boss fight then resolve the story thus ending the game. Final Fantasy VII is a strong example of narrative exhaustion because the game is completely over once the story is finished being told and in order to continue playing you have to reload the game before the end cut-scence/boss fight or start a new game. ====Hotel Dusk Room 215==== Hotel Dusk Room 215 (DS) follows a fairly linear storyline. The game itself is a mystery game and once the puzzle has been solved there is nothing for the player to do further. When the player "completes" the game by mechnically collecting all of the necessary clues which result in the outcome or ending of the game the game is of no further value to the player. There are no additional aspects to explore and the game does not change. The mystery has been solved. ====Final Fantasy Tactics==== The game progression is based heavily in the narrative of the game. Once the player completes the main game play narrative they are faced with the option of beating the final boss, or participating in side quests. Eventually the player will have run out of side quests and the player will be forced to fight the final boss in order to continue meaningful progression in the game. After completing the final boss the game runs out of narrative and the game is over from a story and game play perspective. ====Lufia and the Fortress of Doom==== This RPG is an excellent example of a game that ends in narrative exhaustion. The game is dictated by its storyline, one that captivates and forces the player to go to specific places. There are not as many side-quests as in other RPG's, and once they are completed, the player must beat the last boss. Upon victory, the end of the story is told, and the game is over. ====XIII==== XIII is a first person shooter for PC which uses extensive cell-shading to get a comic book feel. Since it is based on comic books, it is story driven and very linear with nearly no room for different approaches to problems. Once the story ends the game does as well- the single player mode has been exhausted. ===Weak Examples=== ====Gears of War==== In this game the story takes you through the whole game. But at the end of the game you just blow up everything, or so it would appear. Bu then they show more bad guys and say the fight is not over yet and that they will not stop fighting so the story is just left there with no conclusion ====Pokémon Mystery Dungeon==== Pokémon Mystery Dungeon has a main storyline, but is primarily based around going on randomly generated missions. Even when the main storyline has been exhausted, the game is still intended to be played and has other goals to be obtained. After the "ending," the game finally allows the Pokémon characters to evolve, and still presents missions for the characters to go on, new Pokémon to be recruited for the player's rescue team, and new dungeons to be unlocked. Technically, the main storyline is only half of the game, and the game never ends due to narrative exhaustion. ====Pokemon==== In most Pokemon games, there are very linear storylines. Once the Elite Four have been beaten, the challenges consist only of multiplayer elements and collecting pokemon. Narrative exhaustion finishes certain, but not all aspects of gameplay. ====Chronotrigger==== Chronotrigger, the Squaresoft RPG written for Super Nintendo Entertainment system, is a weak example of Narrative Exhaustion. The game allows you to progress through the story as any other RPG. However after defeating the final boss, the player is given an option of New Game +. A player can choose to play through the entire game again keeping equipment and levels. The difficulty of the enemies are adjusted accordingly to keep the player challenge. When playing again, it is possible to encounter different endings. ====Star Ocean: Till the End of Time==== In Star Ocean: Till the End of Time, there is a story and the story does technically end after defeating the final boss. But, after defeating the final boss, you unlock extra dungeons that you can only go to after defeating the final boss. So, the game isn't a strong example of narrative exhaustion because even though the story does technically end after the final boss, the player is still allowed to continue playing. ====Katamari Damacy==== In Katamari Damacy, by the time you've reached the final level and have completed it, the story has finished. However, if you can get your Katamari up to a certain size, you unlock Eternal Mode. This Mode allows you to continue playing forever, with no time limit, even though the story is over. This game is a weak example of Narrative Exhaustion-the story is complete but the player is still allowed to play. ====Grand Theft Auto 3==== In Grand Theft Auto 3, the player acts as a mafia footsoldier that has just been released from prison and must do a series of missions to earn money and earn back his honor. Though the game can be played thoroughly and the credits will roll, you are given free reign after this to continue wreaking havoc on the streets and there are plenty of unfinished assignments, bonus stages, etc. to fulfill even after the narrative has been completely exhausted. ====Super Mario 64==== In Super Mario 64, the player is able to beat the main boss Bowser completely with only 70 stars. However, the total stars that can be achieved throughout the game, including the secret castle stars, is equal to 120. This means that the game with multiple levels within each world are still left to complete, long after the original narrative for the game has been exhausted. ==Parent== *[[Game Ends]] ---- ==Children== None 617986c3f93d52dc551f1ca3c25a9abb8909a3a9 0 143 143 2008-12-18T21:05:59Z Jp 0 20 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] ==Definition== ;Dividing gameplay to put it at the service of the storyline of a game.: The impact of narrative segmentation on gameplay is still questionable, since so far it seems to be inextricable from other forms of segmentation, particularly spatial and challenge segmentation. Breaking down gameplay into chapters or acts usually brings along a change of space and/or finishing a set of challenges to start a new one. However, there have been attempts to structure gameplay around a dramatic structure, such as the use of the so-called ‘beats” in Mateas and Stern’s Façade. At this point, this type of fragmentation needs further research to establish whether it can be considered a primary mode of segmentation, or one ancillary to the other segmentation types. ==Examples== ===Strong Example=== ====The Colonels Bequest==== In The Colonels Bequest (an adventure game by Roberta Williams), the player plays a young university student who has been invited to a mansion for the weekend. A friend of the players uncle is dying and has invited his relatives to announce how he will split up his inheritance. In a typical murder-myestery fashion, the guests start to disappear with only the protagonist finding the bodies. Slowly but surely, the player must unravel the mystery. This game is a strong example of narrative segmentation because it is divided into 8 acts each corresponding to an hour of game time (not gameplay time). The ending of each act is triggered by different events (including the player witnessing certain things). It is also interesting to note that the games narrative is exposed anyways, and that it is possible to reach the end without knowing the truth about the murders. ====King's Quest 7==== King's Quest 7 is a strong example of narrative segmentation because the whole game is based on a narrative. As the Queen and her daughter, the player must reunite the two characters. Both characters travel through different lands and learn about the whereabouts of the other. Every objective the player completes as each character is to learn more information about the story: where has the character been, where is she headed...etc. Often times the main character has to collect an item to give to another character to bribe them into giving up information. And finishing the game also finished the story within the game. ====Phoenix Wright: Ace Attorney==== Phoenix Wright for Nintendo DS follows several stories that revolve around investigation and questioning. The player must pay attention to the game's narrative and travel to new locations in order to uncover evidence. This evidence is eventually presented in trial in order to complete each day or chapter. After a few days' trial and investigation the chapter ends and the player may join into a new story with a new plot, evidence, and analysis needed. (Davehansen) ===Weak Examples=== ====Monkey Island 2: LeChuck’s Revenge==== The actions in this graphic adventure are structured in “Parts”, which are announced by its correspondent title card (“Part I: The Largo Embargo”, “Part II: Four Map Pieces”, Part III: LeChuck’s Fortress”, “Part IV: Dinky Island”). Each part has distinctive objectives, and also takes place in a different set of spaces, so that the narrative segmentation goes along spatial and challenge segmentation ====Diablo II==== Diablo II: Lord of Destruction for the PC could be considered a weak example of Narrative Segmentation, because of the progression of the story. The game is divided into "Acts" in which the player must complete quests to traverse the story. Each of these acts have a setting, plot, and cinematic introduction. The actual gameplay, however, is more challenge segmented. ====Starcraft==== In Starcraft (PC), the game is split up into 3 campaigns in which the player learns how to use the Terran, Zerg and Protoss armies. The overall story of the game is told through each of these three campaigns. The player is not only presented with an advancing plot, but also learns things from the perspective of each of the three races he plays. ====Seiken Densetsu 3==== As an action-RPG, the story of this game is told via dialogue and in a style common to RPGs which traditionally progress according to the narrative. However, the ability of the narrative to progress in this case is entirely dependent on the player making their way through the next dungeon and defeating the boss at the end, with almost no other challenges in-between segments. ==Relations with other elements of the Ontology== ===Parent=== [[Segmentation of Gameplay]] ==References== ''Monkey Island 2: LeChuck’s Revenge''. (1991) LucasArts: PC. 4712ceb4a13e166db43e3c08ea2ffe41c355598a 0 144 144 2008-12-18T21:05:59Z Jp 0 9 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] In puzzle games where players must arrange multiple pieces in a restricted space, players benefit from information about upcoming pieces they will have to place. In order to provide such information, some games provide an indicator in their head up display that provides information on upcoming pieces. ==Examples== ===Strong Examples=== ====Tetris==== Tetris [Pajitnov, 1986] lets players see what shape the next tetrad will be so they can plan their placement strategies. While versions (and derivatives) of Tetris vary, many versions place this indicator to the left of the main play area. ====Bust-a-Move 4==== In Bust-a-Move 4 [Taito, 1998], players arrange a set of bubbles, looking to chain together series of three bubbles or more of the same color. To help players plan their strategies, the game provides an indicator on the right side of the play field that displays the color of the next bubble. ====Dr. Mario==== Dr. Mario's (Nintendo Remake 1994) next piece indicator is integral to completing the puzzle successfully. Dr. Mario is a fast paced puzzle oriented game that requires the player to line up colored halves of pills with virus balls. A virus ball plus 3 other halves of a pill of the same color will "cure" the virus and make it disappear. Knowing the color of the next pill is necessary to plan strategies and leave less of a mess later in the round. ---- ==Part-Of== *[[Head Up Display]] ---- ==References== Pajitnov, A. (1986). Tetris. Dos edition. Taito, developer. (1998). Bust-a-Move 4. Taito, playstation edition. ce2bca7b72c89bc08d4c19a7e33e246abae78a82 0 145 145 2008-12-18T21:06:04Z Jp 0 74 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] Some games are defined as open-ended and without a final win/loss or ending condition. They are games that, theoretically, could be played forever. They are generally games in which there is no overarching goal to be achieved (since fulfilling it would end the game), or there are goals being added constantly so that players never run out of things to do. A game with [[No Game End]] is different from one that offers options for added replayability. A game that ends, but allows the player to continue playing, or offer a more challenging mode would not really qualify. A few questions to ask when wondering if a game has no ending include: does the game have a campaign or story mode? Are there any limits to the players progression in the game? Does the game have a story that is resolved? ==Examples== ===Strong Examples=== ====Vanguard:Saga of Heroes==== Vanguard:Saga of Heroes is an MMORPG, where the player is immersed in a fantasy world that is constantly growing. Enemies are constantly respawning so there is no end to the adventuring and combat. There is a crafting system to allow the player to create powerful items to sell for other players with no limit to how many they can make. There is a constantly changing economy, with no limit on the amount of wealth a player can accumulate. There is real estate and boats in game to purchase or build. There is pvp content to allow for player verse player competition with no ultimate victor, as long as players are willing to continue the fight. There is an in-game strategy card game that influences the world, and adds another game with in a game. With regular updates that add new quests, items, dungeons, monsters, level caps, and classes the game has no definite ending, and the player can put in as much time as they want in this constantly expanding world ====Roller Coaster Tycoon==== The player con continue playing this game as long as his interest in the game persists. There is no resource exhaustion, narrative exhaustion, etc. The player has the freedom to continue building his roller coaster theme park as long as he wants. ====Everquest==== Everquest is a MMORPG in which the player controls a character that participates in adventures in an online, persistent 3-D world. There are theoretically no limits to the amount of adventuring the player could engage in since enemies are constantly respawning. On the other side, there is no way for the players character to be permanently eliminated from the game (short of direct intervention from the administrators due to exceptional situations). Though some players do experience all the content the game has to offer, EverQuest was also ever expanding as the game consistently came out with new expansion packs. These expansions would deliever a varying amount of things like, new content, new level caps, new races/classes, new 3-D engines. ====World of Warcraft==== The World of Warcraft is a strong example of a game without a definite ending. Being an online MMORPG, more quests are added after time so players never run out of things to do completely. Although one will try to become the strongest character and try to achieve the top gear, he or she must continue to play constantly due to the rapid updates. ====The Sims==== The Sims allows you take take and create avatars that you control their lives and outcomes. With the Sims there are no objectives of what to or what you can't do. In the original sims the characters don't even die so there is no ending at all, its just play for fun and stop when your bored. ====Sim City 4==== Just like all the Sim City games, when you aren't playing any specific challenges you are given an open world to build upon and the game never ends. You can continue to run your city forever if you like or make more and more cities till the zone is filled up. You can play the game until you get bored. ====Animal Crossing==== Animal Crossing has no end. Even if the player attains every piece of furniture, clothing, and item as well as catching/finding every fish, bug and fossil, the game still does not end. This is because there is always something for the player to do because the tasks that can be performed can be done over and over again. ====Harvest Moon 64==== Harvest Moon 64 is a strong example of a No End Game. As the game's objectives are to simply fix up the farm and have a successful life within three years, one would expect that the game may end after that. However, the game, true to life, does not just end there: one can keep growing crops, making friends and viewing cut scenes for all of eternity, because gameplay does not stop after the "ending" provided by the game. One can continue to play the game indefinitely continue to experience any scenes not viewed before the "ending" of the game. The goal or ending provided by the game serves as a stopping point for players, but there are no true requirements for reaching the goal and there is no way to lose the game; hence, HM64 is a strong example of a game without an ending. ====Star Wars Galaxies==== There is absolutely no end to Star Wars Galaxies for several reasons. One being that you could alter your character endlessly and master different combinations of professions and locations with those. The other reasons have to do with the fact that it is an MMORPG and there is constantly updated features being applied from the developers. This could also be looked at from the social point of view. There is no end to a game in which you can engage in a conversation with someone because conversation could potentially have no end. This game could be more of a social tool with no end. ====MLB2k6==== This is a strong example because for many reasons this game never ends. Even when you win the world series in franchise mode you just continue on into the next year, I mean I have 10 world series titles so obviously you can keep going. Plus there are about 5 different game modes and the game in itself never ends. ====Shattered Galaxy==== The online game Shattered Galaxy is a strong example of No Game End gameplay. After reaching a level 100, the player can gain a special badge that specifies the player that has reached level 100 and automatically resets the leve to 1. Of course, all the resources and units(armies, tanks, etc) appear even though the player gets reset to beginning. Upgraded units appear to be upgraded units but it will be also reset to level 1. This means that the player will never see the ending. It is possible to reach the highest level(100) but would not have ending. ====Nexus TK: the Kingdom of the Winds==== Similar to Everquest and World of Warcraft, Nexus TK, an MMORPG, offers the player no overarching goal to attain. The player can essentially play indefinitely (and in some cases, some users seem to) and instead the game is based off of a more communal aspect than most other games, providing players with a social world that is not reflected in many games. Players can continue hunting and making their characters stronger and stronger, and many choose to for Player-Killing combat, but there is no true end to this game. ===Weak Examples=== ====Civilization IV==== Once a player has beaten the game, they are given the option of continuing play or not. Score is no longer kept but players can continue on, perhaps trying to conquer the rest of the world or build the perfect civilization. However, the official outcome for the game has already been determined so it is a weak example being that this is most often when players end their game ====Elder Scrolls IV: Oblivion==== In Elder Scrolls IV: Oblivion, the player could continue playing past game end, but there is a limited amount of content. And you could clear every dungeon and complete every quest, and yet the game doesn't end. This is a weak example because, though the game lacks more content, the game doesn't end and the player's character can still wander the world aimlessly. However, Elder Scrolls (the PC version) is a somewhat gray area, in between weak and strong, because the players can download patches to extend the gameplay. One such patch allows the player to create more content for the game. In this sense it is a strong example of "No Game End" because as long as the player creates more content, the game doesn't have to end. On the other hand, if the player just downloads content produced by the game company, then there is the very real possibility of hitting a content wall where no more is being produced. Thus, providing the weak example mentioned above. ====Jets 'N' Guns==== After beating all the missions in the game, the player is sent back to the beginning to start over, albeit with all the money and weapons they'd acquired. There is even content which is unavailable until having played through the game a few times. However, once every item and ship has been acquired, there is nothing more to accomplish, but the game will send you through all the missions indefinitely. There is no game end in that the player never reaches a true end point, but there will be no more challenges, decisions, or content which have not already been met. ====Black & White==== In Black and White, you may defeat all the gods in your level and continue to play the level for fun simply making your creature better and making your villagers happier. Your creature grows as time goes by as time goes by and can be continually played with to make it angelic of devilish. You may simply play with your Creature like a Tamagotchi (toy that takes care of an animal). You can do all of this, but most people do not and simply end the game once they reach storyline and goals end. ====The Sims 2==== Like The Sims, The Sims 2 allows the player to continue playing until they get bored. However, in The Sims 2, characters can die, and so it is possible for a game to end, although it is always possible to create another family. ====Chrono Trigger==== In Chrono Trigger, once a player has completed the game, he/she has the option of starting a new game with a previous game's character experience and items. Based on this game option, Chrono Trigger provides a loose interpretation of no game end, as a player can continue using previous versions of characters in a new game storyline. ==== Tetris ==== Often, people think of a game of Tetris as being over when you lose. However, theoretically, given the correct blocks put in the correct places, one could be stuck playing the game forever, because the pieces never stop dropping even when you have reached the highest level, highest score (all nines in the score box) and have perfectly lined up your blocks to eliminate every piece on ---- ==Children== None 6453f78f2b6f17712c25698b1edb7fc24b4ec155 0 5 5 2011-12-29T03:44:06Z Jp 0 Reverted edits by [[Special:Contributions/User 86a54d1982b10897|User 86a54d1982b10897]] ([[User talk:User 86a54d1982b10897|Talk]]); changed back to last version by [[User:Jp|Jp]] wikitext text/x-wiki ---- This is the template for every regular element: ==Definition== ;Summarized definition goes like this: Here you write the definition and accompanying discussion of this ontology entry. This part of the text may have some examples as well as references. However, it is not expected that the examples be fully fleshed out neccesarrily. We also like to have a list of questions that could be used as "rules of thumb" to help the reader determine if, in a certain game, there is a particular instance of the ontology entry being presented. In other words, if the reader wanted to determine for himself whether GameFoo had an example of OntologyEntryFoo, then the list of questions might help. List of questions: *Question 1 *Question 2 ==Examples== ===Strong Examples=== ====Game 1==== Name of game as well as a brief discussion of how this particular game has a strong example of the ontology entry. ===Weak Examples=== ====Game A==== Name of game as well as a brief discussion of how this particular game has a weak example of the ontology entry. ==Relations with other elements of the Ontology== ===Parent=== *Parent ''This should be a link to the parent of this entry'' ===Children=== *child 1 ''These should be links to the children entries, if any'' *child 2 .. *child N ==References== 82fec6cfbb782742886197d84732d738e27c8ac2 0 146 146 2008-12-18T21:06:08Z Jp 0 2 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Open cycle haptic output devices carry tactile output to players to reflect a game's state. Open cycle haptics differ from closed cycle haptics in that an open cycle haptic device simply provides output. Closed cycle devices also accept tactile input. Open cycle haptics commonly appear in contemporary game consoles in the form of controller rumble. While players provide input through the gamepad, it is the gamepad as a whole that rumbles and shakes, not the individual input devices that make up the gamepad. Braille displays used by visually impaired computer users are another form of open cycle haptic device, as they provide output from the computer, but don't receive input. ---- ====Parent==== *[[Haptic Display]] ---- ====Children==== None f1153f8f6d0477e59878e1b538362518f378e013 0 147 147 2008-12-18T21:06:08Z Jp 0 12 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Goals]] Optional goals are are communicated directly to the player, but are not necessary to the successful completion of the game. This of course, requires that the game have some sort of ending condition. Optional goals are understood to be optional and pursuable at the players discretion. It is important to note however, that at times, it may not be entirely clear to the player which goals are optional. In hindsight, he may be able to realize that a certain achieved goal was optional, but this may not always be the case. At times it is hard to distinguish between required and optional goals when the difficulty of achieving a given required goal is dependent on completing certain optional goals. For example, in a typical RPG game it may be necessary for the player to complete a few Side-Quests in order for the characters he controls to improve their abilities enough to take on a critical-path goal. Thus, at times, optional goals may become critical depending on factors such as the players skill level. ==Examples== ===Strong Examples=== ====Final Fantasy VI==== In Final Fantasy VI, the game splits from the World of Balance to the World of Ruin partway through the game. In the World of Ruin, the player "re-starts" with only one of their characters. As the story progresses, the player will come across other characters and get them to re-join their party. However, the vast majority of these characters are actually optional from that point on. Theoretically speaking, as long as the player gets the airship and enough characters to form the three parties required for Kefka's Tower, they could finish the game without re-collecting a lot of their former party members. Getting all of the possible members for your party in the World of Ruin is an optional goal. Additionally, like with most RPGs, FFVI has optional sidequests the player can embark on to gain items such as weapons, armor, relics, and Espers, as well as viewing scenes otherwise not present in the normal storyline. ====Splinter Cell: Double Agent==== In Splinter Cell: Double Agent, there are sets of objectives that are labeled as secondary, or optional in this sense. These objectives can be completed for added bonuses such as new gadgets or more trust with a faction, but they are not necessary for mission completion. ===Weak Examples=== ====Street Fighter III: Third Strike==== While playing SF III in single-player mode, you begin to collect points based on your performance within each round. More points area accumulated if the player performs any number of optional things within each round. KO'ing an a opponent with a Special Move, or without losing any health yourself, will garner more points. These extra points and, in fact, the entire point system are completely secordary to the main storyline and to the system by which you unlock new characters and extras. You unlock the extras merely by completing the game; the score and grade are irrelevant. ====Command & Conquer: Tiberian Sun==== In Command & Conquer: Tiberian Sun you have the option of choosing missions that will add support to the next primary mission. For example the last level of the Nod campaign you can choose to directly play the campaign or you can play a mission to steal the ion cannon codes. Once finished you will get the ion cannon on the next mission. We consider this a weak example due to the role that completing the optional mission has on the final level (makes it easier). ---- ==Parent== *[[Game Goals]] ---- ==Children== *[[Collectables]] *[[Side-Quest]] 67ae23f0d18dcbb9de50549421ac31db9d298016 0 148 148 2008-12-18T21:06:26Z Jp 0 14 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] In games that have Turn-taking, it is sometimes possible for a player to forgo his actions by choosing not to perform any. This is referred to as passing. A player or agent usually chooses to pass because it is in his or her best interest in the game or because the player cant perform any actions in the game. Passing is essentially Taking Turns in which a player or agent is not required to perform any action. ==Examples== ===Weak Examples=== ====Civilization==== In the Civilization games the player may strategically place combat units within a city that they expect to be attacked. Some of the units may have the ability to move, but it is in the player's interest to leave them to defend. In this sense, these units are "passing" (ie, not acting) in order to maintain a defensive position. If the player where to not to use any of his units, this might be close to "passing" in the sense of the player forgoing his/her actions. ====Heroes of Might and Magic==== In heroes of might and magic the player has options of moving or staying in a place but also they can just hit the next turn button without doing anything thus passing. This would be a silly strategy because it would seem counter productive but if the player is holding a mine with his hero and doesn't want a near by hero to take it back when he moves he might just pass the turn. This is still not entirely passing because most player would still do something in there castle even if the hero isn't moved. The one occasion when a player might completely pass is the player is hold a position and there are no new monsters to recruit thus nothing in the castle to do so the player passes to gain more money. Thus the example is only a weak example. ====Final Fantasy VII==== In the turn based combat system of Final Fantasy VII, a player may or may choose not to attack based on strategy or simply slow reaction time. This is a weak example because the player may not strategically pass but allow his opponent to strike continually while they remain indecisive on what action to do next. ---- ==Parent== *[[Taking Turns]] ---- ==Children== None a577363e33f15b31ed26bbf92db1e7b1d0a81a45 0 149 149 2008-12-18T21:06:26Z Jp 0 4 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Goals]] Performance Record is a value or list of values that represent the top performances recorded for a particular game. Performance Records are usually accompanied by the name or initials of the player that recorded that value. The actual goal metric displayed on a performance record may vary, in many games it is simply the highest scores. In other games, such as racing games, it tends to be the shortest times. If the Performance Record represents more than one value it is commonly referred to as a High Score Table. ==Examples== ===Strong examples=== ====World of Warcraft==== In World of Warcraft, before the recent change to the system, the Player vs. Player system had a ranked ladder. Not only was the player rewarded with powerful items for achieving the high ranks, but they also received titles in front of their in-game name, such as 'High Warlord' or 'Grand Marshal'. ====Pac-Man==== Pac-man uses Score, and the highest Score is recorded and displayed at all times at the top of the screen as "high score". When a player breaks the high Score, the Performance Record continues to change as the player records a higher Score. No name is recorded in the Performance Record. ====Tetris==== Tetris uses Score, and the three highest Scores are recorded for each game type. The Perforance Records are displayed on the screen while the player is choosing the level. A name is recorded with each record. ---- ==Parent== *[[Goal Metrics]] ---- ==Children== None 75737ab1b8233dde0338ffa832ce6fd4776553d3 0 150 261 150 2015-07-27T23:24:25Z Jzagal 2 wikitext text/x-wiki {{Proposal}} [[Category:Proposal]] [[Category:Ontology]][[Category:Rules]] Changes effected in the gameworld, either by the player or by other entities are non-reversible via out-of-games means. List of questions: *Is the permanent change important to gameplay or merely cosmetic? *Can non-player controlled entities cause changes in the gameworld that are persistent? ==Examples== ===Strong Examples=== ====Animal Crossing==== In Animal Crossing, the player can chop down trees as well as plant new ones. Whenever a tree is chopped down, it ceases to exist in the gameworld. In fact, if the player were to chop down all the trees, the town in which his character lives would become barren until the player planted a new one. Managing the landspace (weeding, planting and chopping trees) is an important part of the game if the player wishes his town to achieve "perfect status" (which confers certain a certain bonus). ====Payphone Warriors==== Perhaps the strongest example of persistent gameworlds is found in pervasive games where the real world is a gameworld. In the pervasive game Payphone Warriors, teams earn points for controling payphones within a certain geographic area. Teams gain control of a payphones by calling the game's server from said payphone. If something were to happen to a payphone to affect its functionality during the course of the game (car accident, service outage, etc.), the gameworld has been permamently altered until it is fixed. ====X3: Reunion==== Like its prequel, X2: The Threat, the player interacts with and influences the X universe both directly and indirectly. The X universe includes a highly realistic economic model that affects supply and demand of goods, equipment, ships, etc. available to the player and NPCs that actively go on trading, producing/manufacturing, and fighting. Further more, as the game progresses, the player can gain increasing influence by purchasing and constructing their own space stations and build their own financial and/or military empire that dynamically affects the X Universe, depending on how you manage your resources. Thus, while the universe is the same when you start the game, the gameworld and resulting gameplay changes progressively as time elapses. ===Weak Examples=== ====Ultima Online==== In the MMO Ultima Online, players can buy and build on their own plots of land within the game. These changes are not only permanent, but they also affect the other players of the game since Ultima Online has one shared gameworld for all. This game is a weak example however because certain things, such as particular enemy encounters, are not permanent. Once a particularly important monster is defeated, it is only a matter of time before it "respawns". ====Grand Theft Auto: San Andreas==== In Grand Theft Auto: San Andreas, players can do things which alter the gameworld, such as the turf wars in the initial city. Despite both the ability to limit the number of opposing gang members and find them, and the ability to alter the gameworld to fit the storyline, the game is still primarily dictated by the randomly-generated aspects, such as the vehicles, pedestrians, and police. ==Relations with other elements of the Ontology== ====Parent==== *[[Pseudo-Physical Rules]] ====Children==== *None f06d451364d251193b358fdb147b38d8ec849f95 150 2009-08-15T15:39:48Z Jp 0 wikitext text/x-wiki {{Proposal}} [[Category:Ontology]][[Category:Rules]] ;Changes effected in the gameworld, either by the player or by other entities are non-reversible via out-of-games means. List of questions: *Is the permanent change important to gameplay or merely cosmetic? *Can non-player controlled entities cause changes in the gameworld that are persistent? ==Examples== ===Strong Examples=== ====Animal Crossing==== In Animal Crossing, the player can chop down trees as well as plant new ones. Whenever a tree is chopped down, it ceases to exist in the gameworld. In fact, if the player were to chop down all the trees, the town in which his character lives would become barren until the player planted a new one. Managing the landspace (weeding, planting and chopping trees) is an important part of the game if the player wishes his town to achieve "perfect status" (which confers certain a certain bonus). ====Payphone Warriors==== Perhaps the strongest example of persistent gameworlds is found in pervasive games where the real world is a gameworld. In the pervasive game Payphone Warriors, teams earn points for controling payphones within a certain geographic area. Teams gain control of a payphones by calling the game's server from said payphone. If something were to happen to a payphone to affect its functionality during the course of the game (car accident, service outage, etc.), the gameworld has been permamently altered until it is fixed. ====X3: Reunion==== Like its prequel, X2: The Threat, the player interacts with and influences the X universe both directly and indirectly. The X universe includes a highly realistic economic model that affects supply and demand of goods, equipment, ships, etc. available to the player and NPCs that actively go on trading, producing/manufacturing, and fighting. Further more, as the game progresses, the player can gain increasing influence by purchasing and constructing their own space stations and build their own financial and/or military empire that dynamically affects the X Universe, depending on how you manage your resources. Thus, while the universe is the same when you start the game, the gameworld and resulting gameplay changes progressively as time elapses. ===Weak Examples=== ====Ultima Online==== In the MMO Ultima Online, players can buy and build on their own plots of land within the game. These changes are not only permanent, but they also affect the other players of the game since Ultima Online has one shared gameworld for all. This game is a weak example however because certain things, such as particular enemy encounters, are not permanent. Once a particularly important monster is defeated, it is only a matter of time before it "respawns". ====Grand Theft Auto: San Andreas==== In Grand Theft Auto: San Andreas, players can do things which alter the gameworld, such as the turf wars in the initial city. Despite both the ability to limit the number of opposing gang members and find them, and the ability to alter the gameworld to fit the storyline, the game is still primarily dictated by the randomly-generated aspects, such as the vehicles, pedestrians, and police. ==Relations with other elements of the Ontology== ====Parent==== *[[Pseudo-Physical Rules]] ====Children==== *None aceedb7c03dcc97700b67248f147f5a5cc211912 0 151 151 2008-12-18T21:06:27Z Jp 0 2 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Some games (particularly real time strategy and role playing games) provide players a set of buttons in the game's head up display that they can assign to game actions or collections of entities. In some cases, games provide keybindings for these buttons as well. '''Strong example''' Neverwinter Nights [Oster et al., 2002] provides space at the top and bottom of the game view for players to assign hotkeys for skills, spells and items. In addition to indicating which keys are bound to which items or activities, these areas serve as buttons players can click to execute the assigned actions. '''Strong example''' Spellforce: The Order of Dawn [Wertich, 2004] provides a section in the head up display for players to store unit selections. After selecting a group of units, players can assign that selection to a set of buttons at the top of the screen. Stored selections can then be retrieved by pressing the buttons they were assigned to. ---- ====Part-Of==== *[[Head Up Display]] ---- ====References==== Oster, T., Holmes, M., Greig, S., Moar, D., Brockington, M., Knowles, B., Ohlen, J., Bartel, R., and Manthorpe, T. (2002). Neverwinter Nights. Infogrames, windows edition. Wertich, V. (2004). Spellforce: The Order of Dawn. JoWooD Productions Software AG, windows edition. 6c0f59dfce0c809388835a44e46da8c10c569d46 0 152 152 2009-05-22T18:00:15Z Jp 0 Reverted edits by [[Special:Contributions/ZelviRelli|ZelviRelli]] ([[User talk:ZelviRelli|Talk]]); changed back to last version by [[User:Jp|Jp]] wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] Most modern games allow the player the chance to customize his or her gameplaying experience. This customization is usually limited and highly constrained and defined by rules we call player manipulable. Examples of these types of gameplay rules include the ability to change the difficulty setting of a game, select a handicap, or even select the type of game that wants to be played. For example, capture the flag or deathmatch. ===Strong Examples=== ====Halo 2==== Halo 2 is a perfect example of manipulable rules. In campaign mode, you are choose between four different difficulty settings including Easy, Normal, Heroic, and Legendary (the hardest). Also in multiplayer there are tons of options when picking a match. One can choose a time limit, life limit, access to radar, weapons on map, starting weapons, choice between one or two starting weapons, and tons of other things that would take too long to list. Also the objective of the match can be changed, and anything from capture the flag or king of the hill can be played, allowing for extremely diverse gameplay within just one game. ====Snood==== The game Snood is a strong example of a game that has Manipulable Rules. Before each game, you can pick the difficulty of the level. Ranging from Child to Evil. ====Halo==== The Halo series is an extremely strong example of Manipulable Rules. The game allows players to choose not only the difficulty of the game for a single-player experience, but also allows players to manipulate everything in the multiplayer game. For example, characters can change the number of kills needed win the round, the weapons that appear, the time limit, the map, and various other aspects of gameplay. ====Perfect Dark (N64)==== Perfect Dark is a strong example of player manipulable rules because you can choose your own guns, stage, how many sims you want, your character's look, whether you want slow motion or one hit kills, paintball setting, etc. One can combine different categories to vreate a very fun scenerio to play. One example would be to be playing co-op, to have knives and fists for weapons, and to have only two other sims, but the enemy sims would be your evil twins (scary situation). ====Gears of War (Xbox 360)==== Gears of War allows players to choose the difficulty of the campaign and whether they're playing single player or split-screen co-op. The multiplayer game allows the person hosting to choose the map, switch weapons, # of rounds, game type, friendly fire on/off, etc. ===Weak Examples=== ====X-Men Legends II: Rise of Apocalypse==== X-Men Legends II is a weak example of Manipulable Rules because although you can't select the difficulty of the game during the story mode of the game, but in the "Danger Room" section, you can decide on the match-up, location and type of battle to be played. ====World of Warcraft==== A weak example of Manipulable rules is the game World of Warcraft, for the Personal computer. Players can change various aspects of the game, such as a character's personal appearance and weapon choice, but has little if any control over the rules that govern the realm players participate in. ====Spyro (2): Ripto's Rage==== Ripto's Rage is a very weak example of Manipulable Rules because there is a very limited ability to customize the playing experience. Only at the end of the game after the boss is beaten and all the gems and talismans are gathered, can the player step through a power-up and get the Super Flame option which can basically own everything if a new game is started on top of the old one. Besides the power-up, the only customization (changing Spyro's color, head size, or switching from 3D to 2D) available is through various codes. ====Donkey Kong Country==== Donkey Kong Country for SNES is essentially a platformer game. There are no rules that can be changed to give the player a handicap. The one thing it does have are a few codes that can be entered during the start up of the game that give you an advantage in lives. In this sense, cheat codes are a way of allowing the player to manipulate the rules, even though this isn't "officially" allowed and the codes have to be found using some alternate method. (ie, they don't come as part of the game documentation, rather, you need to get a strategy guide or a website) ====Street Fighter III (Arcade)==== This is a weak example of manipulable rules because you can only select which fighter you want to use. You can choose between two opponents which one you will face, but you cannot select the stage or difficulty. ====Ikaruga==== The player doesn't get to choose what rules they want to obey or disobey, they may only choose the difficulty at which they play and the color of their current bullets. ====Goldeneye 007 64==== Goldeneye for the Nintendo 64 is a weak example because game rules are limited to the confines of the story. Bond's missions are linked to either killing someone or fetching some kind of information. The enemies missions are to kill Bond. There is not way for Bond to change this nor does he have any control of the tasks he must complete and therefore gameplay. ===Game Ontology Relations=== ====Parent==== *[[Gameplay Rules]] ====Children==== *[[Difficulty Levels]] *[[Character customization]] b9b03b823f5750115647536edd04bfa260da9b1b 0 153 153 2009-08-19T22:07:32Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Games provide players a perspective from which they perceive and interact with the world in which the game takes place. This perspective is communicated to the player through the way the game presents the world to the player through its sensory output and the ways in which the player is able to interact with the world through the games input devices and input method. A key use for electing to use a specific point of view in designing a game is that of developing player identification with a character, side or role. Properly combined with other patterns (such as the games locus of manipulation and activities), a games point of view can help a players identify with their avatars within the game, their team (such as in a sports game or war strategy game), or help them feel a sense of taking on a persona or role to play within the game (Costikyan, 1994). ---- ====Parent==== *[[Presentation Software]] ---- ====Children==== *[[First-person Point of View]] *[[Second-person Point of View]] *[[Third-person Point of View]] ---- ====References==== Costikyan, G. (1994). I have no words and i must design. Interactive Fantasy, (2). 57e48ef10ab4e27ef2eebcaeb944de849fd0f10b 0 154 154 2008-12-18T21:06:29Z Jp 0 6 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Making use of point and click model commonly used in computer operating systems, some games interface with the player using point and click motions from a mouse, joystick or similar device. Pointing and clicking often works in conjunction with menus to create commands. For example, in Warcraft III [Pardo, 2002], the player uses a mouse, trackball, or similar device to move a cursor. Using this cursor, the player selects units, then selects actions for the unit to perform using on-screen menus or predefined keyboard commands. Sam & Max Hit the Road [Clark et al., 1993], works in the opposite order, having players select a cursor from a graphical menu of possible cursors (an eye, a mouth, an object in Sam's coat pocket), then click on an object within the game upon which to perform that cursor's action (the eye cursor to examine, the mouth cursor to talk with someone, etc.). Games using a point and click control method often adopt the window metaphor in point and click computer operating systems as well. This can be seen in the pop-up windows used in games like Neverwinter Nights [Oster et al., 2002], Warcraft III [Pardo, 2002], and SimCity 4 [Knight and McCormick, 2003]. Such games also tend to adopt a third person perspective to present the game to the player. See also [[Third-person Perspective]] ==Examples== ===Strong example=== Warcraft III [Pardo, 2002] uses a point and click interface that allows players to select their game entities by clicking or dragging over them and give them orders through a menu of icons and other clicking activities. All players' interactions with their game entities take place using this point and click input method. The game provides hotkeys to speed issuing commands, but all selections are made using the point and click interface. ===Strong Example=== In The Secret of Monkey Island [LucasFilm, 1990], a point and click adventure game, the player has access to the verbs ''Open, Close, Push, Pull, Walk To,Pick Up, Talk To'' etc. as actions the player can perform. The mechanism works by first choosing the action the user needs to perform followed by clicking the 'hot-spot' on the screen the player wants the action applied to. For example, to open a door the player needs to click on ''Open'' in the menu and then on the door. ---- ====Parent==== *[[Indirect Manipulation]] ---- ====Children==== None ---- ====References==== Clark, S., Michaud, C., Purcell, S., and Stemmle, M. (1993). Sam & Max Hit the Road. LucasArts, dos edition. Knight, J. and McCormick, M. (2003). SimCity 4. Electronic Arts, windows edition. Oster, T., Holmes, M., Greig, S., Moar, D., Brockington, M., Knowles, B., Ohlen, J., Bartel, R., and Manthorpe, T. (2002). Neverwinter Nights. Infogrames, windows edition. Pardo, R. (2002). Warcraft III: Reign of Chaos. Blizzard Entertainment, windows edition. 2181596c378b97727da5e0a2b2f8d1dcd0f15a14 0 155 155 2008-12-18T21:06:29Z Jp 0 8 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] In games that measure players' success by a score metric (or which encourage score-driven competition between players), the game often provides an indicator reflecting the player's present score in the game. This indicator tends to reflect a player's total score, but can be implemented such that it subdivides score by level or episode. ===Strong Example=== ====Ikaruga==== Ikaruga [Iuchi, 2003] places a high priority on scoring as many points as possible, providing special rules that reward players with a higher score for eliminating enemies in specific combinations. As much of the game's activity is devoted to accumulating a maximum number of points, the game provides a score indicator at the top of the screen which players can consult to track their progress. ====Team Fortress Classic==== In Team Fortress Classic [Valve Corporation, 1999], any player can view the points indicator by pressing the tab button (by default), which displays teams, their points, their respective players, and their respective kill/death ratio. Points are an important aspect of Team Fortress Classic, as it provides meaning and goals for its players. ===Weak Examples=== ====Super Mario World==== Super Mario World [Nintendo, 1991(US)] has a score count displayed at the top of the screen. Each player has one and it can be increased by defeating enemies, collecting ingame items, such as mushrooms and coins, and by clearing levels. This is a weak example because there is absolutely no benefit for having a high score. Furthermore, the score resets every time the console is turned off. ---- ==Part-Of== *[[Head Up Display]] ---- ==References== Iuchi, H. (2003). Ikaruga. Infogrames, gamecube edition. Nintendo, (1991). Super Mario World. SNES edition. d531d070944427bb971b68a3c9ceeb8b872f2666 0 156 156 2008-12-18T21:06:29Z Jp 0 10 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] The methods a game uses to present information to players can be analyzed in a number of ways. While interesting cultural discoveries can be made through comparatively studying a game's presentational approach including things like setting, tone or genre, we have chosen to focus our attention in this ontology on presentation as it directly serves gameplay. That is, rather than examining ''Grim Fandango'''s presentation for its excellent use of film noir and art deco visuals or the rich flavor that those visuals and the game's voice acting and music provide, we are electing to focus on more functional and structural matters. How does the game's presentation structure the gameplay? ---- ====Parent==== *[[Interface]] ---- ====Children==== *[[Cardinality Of Gameworld]] *[[Presentation Hardware]] *[[Presentation Software]] a1b3a49c92df12dda5313c27a1c9d2dcb626981d 0 157 157 2008-12-18T21:06:29Z Jp 0 4 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Presenting the game representation to players requires some sort of presentational hardware. In many cases, this is as simple as a television with a monaural speaker. For some games, the presentational hardware is very complex, involving multiple visual, aural, and haptic display devices, or a small set of very sophisticated devices. The list of hardware below is not exhaustive, but tries to note the major varieties of representational hardware used in contemporary electronic games. ---- ====Parent==== *[[Presentation]] ---- ====Children==== *[[Audio Display Hardware]] *[[Haptic Display]] *[[Visual Display Hardware]] 93a8444fa6cc1f78d9f17e6e3faffcb7c1c8c55b 0 158 158 2008-12-18T21:06:29Z Jp 0 2 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] In addition to hardware, there are matters of how the game's code utilizes the hardware available to it. ---- ====Parent==== *[[Presentation]] ---- ====Children==== *[[Feedback]] *[[Point Of View]] *[[Sensory Output]] 812e79fa8e30e7066178b2e98aa6b52dcf98a35b 0 197 203 202 2015-07-20T16:18:36Z Jzagal 2 wikitext text/x-wiki If you would like to participate, feel free to add yourself to the list below. =Current Project Members= *Jose Zagal (Director) (aka Jzagal) =Previous Contributors= (in alphabetical order) *Dakota Reese Brown *Clara Fernandez-Vara *Chaim Gingold *Brian Hochhalter *Yusun Jung *Nolan Lichti *Heather Logas *Michael Mateas (former project Director) *Janet Murray (former project Director) *Marleigh Norton *Juan Pablo Ordóñez *Daniel Rachels 23a5477298601d4b2ce4808320e2906e274f46ed 202 201 2015-07-20T16:18:24Z Jzagal 2 /* Previous Contributors */ wikitext text/x-wiki If you would like to participate, feel free to add yourself to the list below. =Current Project Members Jose Zagal (Director) (aka Jzagal) =Previous Contributors= (in alphabetical order) *Dakota Reese Brown *Clara Fernandez-Vara *Chaim Gingold *Brian Hochhalter *Yusun Jung *Nolan Lichti *Heather Logas *Michael Mateas (former project Director) *Janet Murray (former project Director) *Marleigh Norton *Juan Pablo Ordóñez *Daniel Rachels 6e82512a59650a02a9564c8fba6709056c53f503 201 2015-07-20T16:18:07Z Jzagal 2 Created page with "If you would like to participate, feel free to add yourself to the list below. =Current Project Members Jose Zagal (Director) (aka Jzagal) =Previous Contributors= (in alph..." wikitext text/x-wiki If you would like to participate, feel free to add yourself to the list below. =Current Project Members Jose Zagal (Director) (aka Jzagal) =Previous Contributors= (in alphabetical order) Dakota Reese Brown Clara Fernandez-Vara Chaim Gingold Brian Hochhalter Yusun Jung Nolan Lichti Heather Logas Michael Mateas (former project Director) Janet Murray (former project Director) Marleigh Norton Juan Pablo Ordóñez Daniel Rachels edf4ff6f9c2c96798857f6503fe2fa36b9b90252 0 159 159 2009-01-01T21:37:11Z Jp 0 Reverted edits by [[Special:Contributions/192.68.112.136|192.68.112.136]] ([[User talk:192.68.112.136|Talk]]); changed back to last version by [[User:Jp|Jp]] wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] In many games there is an experiential appreciation of the existence of a world or place where the actual game unfolds or takes place. These worlds are abstractions, intelligible, have clearly defined boundaries (spatial and/or in terms of possibilities of actions) and are consistent. (Papert 1980; Turkle 1995; Church 1999; Gingold 2003) Games such as Super Mario Sunshine (Nintendo 2002), Quake (id_Software 1996) and Tomb Raider (Core 1996) present the player with a simulated physical environment that is generally consistent and believable. For example, there is rule that states that your character cant walk through walls. We call the gameworld rules that apply to the believability, consistency and immersion of the gameworld pseudo-physical rules in that they attempt to convey the sensation of a "real" world to the player. ---- ==Examples== ===Strong Examples=== ====Far Cry==== This game's "ragdoll" physics engine applies to all bodies and many props in each level. An additional rule is that explosions in clear terrain (i.e., away from environmental props or buildings) will create a small crater, resulting in the possibility of a more realistic-looking battle scene. ====Half Life 2==== Half Life 2's source engine makes every object in the game seem to have a realistic weight and inertia, including the player. The player is highly immersed when they accidentally walk into a table, and instead of remaining static, the table gets nudged and soda cans sitting on it fall over. ====Elebits==== ''Elebits'' is fairly realistic in its sense of physical rules. It is difficult to pick up heavier objects until you've gained enough watts to power up your capture gun. Additionally, throwing objects is realistic, although in the game world, precision is difficult without practice, and objects fall a bit more slowly than is natural. There is also an excellent sense of reality in the opening of doors and cabinets. If there is an object in front of the door, it will not open until you clear the path. ====Grand Theft Auto: San Andreas==== Grand Theft Auto: San Andreas has consistent physics, where within the confines of the game everyone can jump or fall about the same distance, gravity affects all equally, and other physical rules are distributed across the board. This engenders both a sense of fairness and immersion in the player, which is helped by the pseudo-reality of the cities themselves; based on real locales, but not quite the same, they are perfectly suited to a sort of in game magical realism. ===Weak Examples=== ====Final Fantasy Tactics==== In Final Fantasy Tactics, when a character is made to fall a significant distance (something like the height of two characters or greater) they take damage from falling. This is a weak example because the amount of damage is fixed, and doesn't really bear any relation to the mass of the character, so in that sense it isn't that realistic. ====Legend of Zelda:Ocarina of Time==== This game has a 3-D world that is pseudo-realistic in its use of gravity, interaction with objects that give slightly such as trees or rocks, and ones that don't such as walls or floors, and also of its use of night and day. However, these rules are applied inconsistenly in different areas. For example, when you are inside Hyrule city, time is stopped. When you are out in Hyrule fields, the day/night cycle passes normally, but as soon as you enter a town, it stops. ---- ==Parent== *[[Gameworld Rules]] ==Children== *[[Gravity]] *[[Life Support]] *[[Solidity]] *[[Persistent Gameworld]] (proposed) ---- ==References== Papert, S. (1980). Mindstorms : children, computers, and powerful ideas. New York, Basic Books. Turkle, S. (1995). Life on the screen : identity in the age of the Internet. New York, Simon & Schuster. Church, D. (1999). Formal Abstract Design Tools. Game Developer. Gingold, C. (2003). Miniature Gardens & Magic Crayons: Games, Spaces, & Worlds. School of Literature, Culture, & Communication. Atlanta, Georgia Institute of Technology: 123. 7fe43dba2988819073a597d001684c73cc2c9a1c 0 160 160 2008-12-18T21:06:31Z Jp 0 24 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] ==Definition== ;A puzzle can be recognized as a challenge, where there is no active agent against which the player is competing (Crawford), i.e. a puzzle is static. Typically, it will have at most a few correct solutions, requiring problem-solving skills (Rollings and Adams) rather than good hand-eye coordination and quick reflexes.: Perhaps the clearest form of challenge segmentation is the puzzle. However, it is a rare form of segmentation in early arcade games. The static nature of puzzles coupled with a slower pace and emphasis on problem-solving rather than reflexes probably limited the commercial potential of puzzle games in the arcade. Therefore, it is not surprising that this form of segmentation flourished with the advent of home computers. Games that use puzzle segmentation present the player with a series of puzzles, which must be solved before the next one is available. At times the progression through puzzles of increased difficulty need not be strictly linear. A puzzle can be recognized as a challenge, where there is no active agent against which the player is competing (Crawford), i.e. a puzzle is static. Typically, it will have at most a few correct solutions, requiring problem-solving skills (Rollings and Adams) rather than good hand-eye coordination and quick reflexes. This form of segmentation is commonly seen in adventure games. For instance, if the player must re-arrange items to open the fulcrum to a door, there is a clear instance of puzzle segmentation. In adventure games, it is usual for the game to be organized as a series of puzzles whose solution allows the player to progress through the gameworld. Some questions that, if answered affirmatively, can strengthen the notion of challenge segmentation are: *Are the entities the player must manipulate static (vs. dynamic entities, such as enemies)? *Does the puzzle depend more on coming up with the response to a problem, rather than having good reflexes? *Is the player ‘stuck’ if she does not solve one of the puzzles (i.e. cannot advance to the next one)? ==Strong Examples== ====Sokoban==== The aim of this classic logic game is to place items into their correct position within a closed space, with as few movements as possible. The boxes can be moved one at a time, pushed, but not pulled. Only when all the items (boxes or balls) are in place, the puzzle is solved and the player can advance to the next one. ====Super Puzzle Fighter II Turbo==== This timeless puzzle game features the simple aspects of combining puzzle gems and destroying them with power blocks in order to overwhelm their enemy and achieve victory. The uniqueness of this puzzle game is the simplicity of the learning curve, but the difficulty of mastering chain combos. The objective of the game is to keep your playing field as clear as possible while making your opponent's playing field fill over the top with gems. ====Bust-A-Move 4==== In the Puzzle Mode of this game, the player has to get rid of all the bubbles on the screen. The difference with the other modes of the game is that the player has a limited number of bubbles to throw. Aiming well is not all in this case, since choose carefully where to aim—strategy is key in these levels. Only when the player has cleared all the bubbles on screen, she can go on to the next level. ====Grim Fandango==== This entire game is based on its puzzles. You are given an open environment and have to locate items and properly apply them to the situations presented to you to progress through the game. You are given the freedom of a large area with multiple puzzles so you can do them in the order you want, but to progress to the next area all the puzzles of the current area must be completed. ====Trace Memory==== An adventure game, Trace Memory (Nintendo GBDS) exemplifies the concept of the "Puzzle" in game-sense. Narrative is progressed through a series of challenges (puzzles) which require problem solving skills, and cognitive reasoning versus player reflexes, and hand eye coordination. Puzzles are used as a means of exploring the world in which the main character exists, unlocking cut scenes and text which progresses the mystery based storyline. Interestingly, as a game on the innovative Nintendo DS consol, Trace Memory uses actual player interaction (movement/action) to solve unique puzzles in the game. For example, in one instance, the player must blow into the speaker to extinguish in-game candles. In a similarly interactive puzzle, the player must physically shake the consol, to remove dirt from an image in-game, thus solving the challenge. ====The Legend of Zelda: Oracle of Ages==== Most of the Zelda games have elements of puzzles within each dungeon or level. There is a consensus that Oracle of Ages is very puzzle oriented, especially when compared to its sister game, Oracle of Seasons. In this Zelda title, the player uses a harp to travel back and forth through time to correct an imbalance in the present. Some of the puzzles have an added dimension to them. Advancement in a puzzle is dependent on what is done in the past. This creates a new challenge to the puzzles. ====The Legend of Zelda: Majora's Mask==== As stated above, most, if not all of the Zelda games contain strong examples of puzzle challenges. In Majora's Mask, the player must manipulate different timeframes, interactions, instruments, and physical forms in order to progress through the stages efficiently. This provides a good example of a puzzle since everything must be done within very specific bounds, and at very particular times, with very little help. Along with the generaly gameplay within the gameworld, the player also encounters smaller puzzles and miniquests within dungeons and pre-dungeons which are necessary to complete in order to advance. ====Sudoku==== This is a one player puzzle game in which the player is given simple rules and a goal. They must use logic and problem-solving to find one of very few, and often only one, solutions to the puzzle, and achieve the goal. ====Resident Evil 4==== While not centered around the puzzles, Resident Evil 4 contains many of them. Some are necessary to complete to finish the game, but not all. They add fun to the game by changing the pace, so that the player doesn't become tired of the central gameplay of shooting zombies. ====Devil Dice==== Devil Dice is a puzzle game in which your character stands on top of a dice in which you navigate in order to numerically match up with the other die. For example, you have to match up 3 die that have the number 3 facing up. Once you match up the die, they disappear. The obect of this game is to beat the clock or an opponent. There is also a puzzle mode in which you are given a limited number of moves to match up the die. ==Weak Examples== ====WarioWare==== In WarioWare the whole goal is to figure out what each mini game requires you to do and complete it in ten second. The goal of the game is to quickly solve the puzzle. For example, stick a finger inside a nose by fitting it just perfectly before the time runs out. This is a weak example because of the timed nature of each challenge. ====Lemmings==== Each level in lemmings is a puzzle, in which the player must select certain lemmings, and assign them a task. The aim of the game is to bring as many lemmings as possible safely to the exit. Lemmings are active agents, many puzzles require timely intervention of the player, so it’s not a static puzzle, as required in the prototypical example. Each level in Lemmings presents a dynamic puzzle, which makes the challenge segmentation by puzzles weaker ====Final Fantasy XII==== There are simple puzzle segments scattered throughout this game, as in previous iterations of the series. For example, while in the palace in Rabanastre you must lure guards down hallways in a particular order to create a path by which you can navigate the halls without being seen. This puzzle exists outside of the game's normal rules (usually guards would just attack you) and serves to pace the game by taking a break from the action, but moments like this are exceptions, rather than rules. ====Donkey Kong Country==== Although there are certain hidden bonus stages within the game which can be viewed as puzzles themselves, clearing these stages are not required for success in the game overall. Furthermore, the difficulty of these bonus stages are more skill oriented than thinking oriented, meaning that one does not really have to think too hard to clear these stages so long as one is moderately deft at manipulating the controls. ====Lufia and the Fortress of Doom==== Lufia and the Fortress of Doom is an RPG for the SNES. It is largely based on its storyline and characters. The dungeons in the game often include mini-puzzles to solve rather than a maze of corridors, but the game is not puzzle-based. The mini-puzzles challenge the player beyond the skills of combat, but are not extensive nor present in the majority of gameplay, and thus qualifies as a weak example. ====Quest for Glory II: Trial by Fire==== Although this game requires the player to solve puzzles to progress the game and storyline, the puzzles are not static, and require the player to duck, grab and manipulate objects at certain moments in specific "puzzle" segments of the game to stay alive. ==Relations with other elements of the Ontology== ====Parent==== *[[Challenge Segmentation]] ==References== Crawford, Chris. ''Chris Crawford on Game Design''. Indianapolis, Indiana: New Riders Publishing, 2003. Rollings, Andrew, and Ernest Adams. ''Andrew Rollings and Ernest Adams on Game Design''. Indianapolis, IN: New Riders Publishing, 2003. ''Sokoban''. Ascii Corporation (1984) Spectrum Holobyte: Apple II ''Lemmings''. DMA Design (1994) Psygnosis Ltd. 1991: PC f1c1b72e25be144e35e6ac80148be2078df1d56d 0 161 161 2009-08-15T15:27:19Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Radar displays provide the player a view of where other game entities are in relation to the entity or entities that the the player controls. Though specific implementations vary from game to game, this radar view often ignores walls and similar objects, allowing players to see where other game entities are as "blips" on the radar display even though they aren't in direct view. Radar displays commonly appear in stealth and espionage games, such as Metal Gear Solid [Kojima, 1998] and Tom Clancy's Splinter Cell [Hattem, 2002] and combat flight simulations like Falcon 4.0 [Blankenship and Gilman, 1998]. ---- ====Part-Of==== *[[Head Up Display]] ---- ====References==== Blankenship, S. and Gilman, L. (1998). Falcon 4.0. Hasbro Interactive, windows edition. Hattem, J. (2002). Tom Clancy's Splinter Cell. Ubi Soft Entertainment, xbox edition. Kojima, H. (1998). Metal Gear Solid. Konami Corporation, playstation edition. 348188b6d1d3ccf76d71de3276ddbbda48c75d77 0 162 162 2008-12-18T21:06:53Z Jp 0 42 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] The results or resolution of certain events or actions are determined in a probabilistic manner. The probability may or may not be known to the player. Randomness is also known as chance. ===Strong Examples=== ====Baldur's Gate==== In the computer role-playing game Baldur's Gate, the success of a player character's attack is determined probabilistically by rolling a 20-sided dice. Since the rules-system is based on a well-known paper and pencil role-playing game (Dungeons and Dragons), it can be assumed that the players are aware of the probabilities involved. ====Super Smash Bros. Melee==== Super Smash Bros. Melee is a great example of a game containing randomness. One of the characters (Luigi) has a move called Green missile. The move has a 12 percent chance of misfiring and doing extra damage while going extra distance. Although the user knows the probability of misfiring, the player can't predict every time he will misfire due to the randomness. ====Civilization 4==== Sid Meir’s Civilization 4 has a strong example of randomness. You may have 1% predicted chance of winning a battle and still win or have 90% chance of winning a battle and still lose. This randomness factor is completely unknown to the player, though at some point the factor goes to 0% or 100% victory to make sure a spearman does not actually destroy a modern tank. Another randomness factor is where you begin the game on the map. It is different almost every time and you have no control over your or the computer’s spawning points. Another randomness in the game is that some maps have random recourse allocation in which the location of certain resources changes every time you start a new game on that map. ====Snood==== In this game, the order in which Snoods appear for you to shoot up at the screen is random. ====World of Warcraft==== The combat system in World of Warcraft is mostly a series of dice rolls to determine things like: if the attack hits or does not hit, how hard or weak the attack hits for, and other random events that might happen, say, every time a character swings his sword. These dice rolls happen very frequently, frequently enough that players can easily see a difference by increasing certain probabilities by only one percent. The way characters are rewarded for defeating monsters is also highly random. When each monster appears, it is randomly assigned a few treasures from a very long list. The only way to know which monster has which treasure is by defeating it, leading some players to frequently defeat those monsters over and over again, looking for a specific treasure. ==== Tetris ==== There are only seven possible tetrominoes, however they appear in a random order. ==== NBA 2k7 ==== NBA 2k7 is an very strong example of randomness. Every shot, dunk, or lay-up takes into consideration the stats of that individual player when deciding if the shot will be made or missed. Another element of this game that contributes to the randomness is the fact that you can play against another human being, and the actions of a human are difficult, if not impossible to predict every time. This results in a game that is completely random, which makes each game different than the previous. ==== Texas Hold'em ==== This popular form of poker consist of randomly dealing out two cards per player. This is followed by five more randomly dealt cards which make up the flop, turn, and river ===Weak Examples=== ====Mortal Kombat ==== Mortal Kombat is a weak example of randomness. Your enemies are presented to you in random order, but because you fight them all anyway, it doesn't really matter. ====Need For Speed: Carbon==== In NFS:Carbon, the city has many random factors that make gameplay less repetitive. There is traffic on the roads, police vehicles randomly patrolling the city, and sometimes there are individual and team challenges from other car teams. This makes the game world less predictable and more enjoyable. This is still a weak example though, because the main objectives in the game are predefined: the main storyline and the unlockable cards. ====Baten Kaitos: Eternal Wings and the Lost Ocean==== Although in this game, the player is indeed dealt random cards, the player still chooses which cards to use against the enemy. So, the player's move is only determined in part by randomness. ====Far Cry==== The enemies in this game have a fairly advanced AI which allows them to somewhat randomly patrol large areas. This means that retrying a part of a level with the same approach may not have the same result, as this time there might be an unexpected sentry in your path. However, the randomness is limited, and the number of soldiers is a constant, so from a sufficient distance, the randomness can be completely avoided with the help of a sniper rifle. ====Diablo II==== On the higher difficulty levels of Diablo II, the special abilities of boss monsters are randomly determined from a short list. While this creates some interesting and dangerous combinations (a monster that deals fire damage AND has an aura that lowers your resistance to fire), it is a weak example because it occurs so commonly. Over a given session you are likely to see so many boss monsters that you'll get a fairly even sampling of every property, with only a small chance of a truly dangerous and uncommon combination appearing. ====Harvest Moon 64==== The player in this game experiences cut-scenes between other characters and himself at certain points of this game. Although they are seemingly randomly experienced at all times of the day, every skit is put into effect by a choice the player makes. For example, the player must be friends with a character in the scene in order for the event to occur, although it is true that the date the event happens is "random", in that the player is unable to determine what day exactly it will occur. However, after a certain level of friendship has been achieved (i.e. if I give Kai precisely ten grapes he will go to the next level of our friendship), it is safe to assume that the next cut-scene will be triggered the next time the player goes to the appropriate place. In this way, Harvest Moon 64's "random scenes" are not random. ====Final Fantasy Tactics==== When moving across the world map there is a chance the player will have a random encounter battle forcing them to fight a random set of enemies. ====Fire Emblem: The Sacred Stones==== In the Fire Emblem games, "Random Chance" is often called upon, be it hit rate, critical hit rate, stat gains for levels, or even what path a movement an arrow takes when it is stretched too far. However, the random number generator it uses is simply a set string of integer values between 1 and 100. Normally, the game saves after each move, so this is not so obvious, but the player may examine movement arrows to see whether the upcoming "random" values are above or below fifty, in essence making it not strictly random. ====Ragnarok Battle Offline==== In RBO, the enemies are controlled by a relatively simple AI system that is driven by a combination of action/attack scripts with probability determining the use of those scripts. However, the probabilities seem to have a set pattern for when which tactics are more likely than others. Also, the damage inflicted/received by both the player and enemies are determined by the player and enemy's stats with a degree of randomness, giving attacks a range of possible damage, but within bounds. ====Final Fantasy X==== Most battles in the game (that is, all that are not entirely relevant to the progression of the story) are random, and determined mainly by the number of steps you take and where you choose to move. When in battle, the force of your blows (be they magical or physical) are determined by a randomly generating numerical system, which gradually improves through gaining certain spheres (particularly 'luck' spheres). ====Descent 3==== Although the progression of the game is mostly straightforward and predictable, sometimes when you destroy enemies, powerups are randomly dropped as a reward. ---- ===Game Ontology Relations=== ====Parent==== *[[Gameplay Rules]] ====Children==== None 04f685f6cee834462b9c485319176fb02583d092 0 205 243 242 2015-07-21T00:32:59Z Jzagal 2 wikitext text/x-wiki This is an alphabetized list of articles, books and sources that have been important to the Game Ontology Wiki. Some have been inspirational while others reflect approaches that are similar in some ways. This list is also important to us as a library of bibliographic references. *Holopainen, J. & Björk, S. (2007) Design patterns are Dead - Long Live Design Patterns. Borries, Friedrich von, Walz, Steffen P., Böttger, Matthias (eds.) (2007), Space Time Play. On the Synergy *Between Computer Games, Architecture, and Urbanism, Birkhäuser Publishing, Basel Boston Berlin. *Holopainen, J., Björk, S. & Kuittinen, J. (2007). Teaching Gameplay Design Patterns. Paper presentation at ISAGA 2007, Nijmegen,The Netherlands. Winner of the The ISAGA Outstanding Paper award. *Lankoski, P. & Björk, S. (2007). [http://www.digra.org/digital-library/publications/gameplay-design-patterns-for-believable-non-player-characters/ Gameplay Design Patterns for Believable Non-Player Characters]. Paper presentation at DiGRA 2007, Tokyo, Japan. *Lankoski, P. & Björk, S. (2007). Gameplay design Patterns for Social Netowrks and Conflicts. Paper Presentation at Computer Game Design and Technology Workshop, John Moores University, Liverpool. *Mor, Y., Winters, N., Pratt, D. & Björk, S. (2007). Tools for Developing Design Patterns for Mathematical Computer Games. Paper presentation at the Game in' Action conference, Göteborg, Sweden. *Peitz, J. & Björk, S. (2007). Understanding Pervasive Games through Gameplay Design Patterns. Paper presentation at DiGRA 2007, Tokyo, Japan. *Zagal, J.P., Aarseth, E., Björk, S., Holopainen, J. & Mateas, M. (2007). Patterns, Typology and Ontology: An Overview and Discussion of the Formal Analysis of Games and Gameplay. Panel at DiGRA 2007, Tokyo, Japan. *Cook, Daniel (2006), "[http://www.lostgarden.com/2006/01/creating-system-of-game-play-notation.html Creating a system of game play notation]", [http://www.lostgarden.com/ Lost Garden] Blog *Koster, Raph (2005) "[http://www.theoryoffun.com/grammar/gdc2005.htm A Grammar of Gameplay]", Presented at the Game Devoper's Conference 2005. *Björk, S. & Holopainen, J. (2004) Patterns in Game Design. Charles River Media. ISBN1-58450-354-8. *Björk, S., & Holopainen, J. (2003) Describing Games - An Interaction-Centric Structural Framework. In Copier, M. & Raessens, J. (Eds.) (2003) Level Up - CD-ROM Proceedings of Digital Games Research Conference 2003, Utrecht, The Netherlands, 4-6 November 2003. *Björk, S., Lundgren, S. & Holopainen, J. (2003) Game Design Patterns. In Copier, M. & Raessens, J. (Eds.) (2003) Level Up - Proceedings of Digital Games Research Conference 2003, Utrecht, The Netherlands, 4-6 November 2003. *Lindley, Craig (2003) "[http://www.gamasutra.com/features/20031003/lindley_01.shtml Game Taxonomies: A High Level Framework for Game Analysis and Design]", [http://www.gamasutra.com/ Gamasutra.com] *Bateman, Chris, et al. (2006) Play Spec Symposium. Against formal approaches for describing games *Fitch, Michael **[http://www.micrysweb.com/library/platonism.html Platonism and Game Design Theory] **[http://www.micrysweb.com/office/formallanguage.html Against a Formal Language for Game Design] Other projects *[http://tvtropes.org/pmwiki/pmwiki.php/Main/VideogameTropes VideogameTropes] 24205f1fe74393ffc3171b871e2806fedda7ae18 242 241 2015-07-21T00:31:41Z Jzagal 2 wikitext text/x-wiki This is an alphabetized list of articles, books and sources that have been important to the Game Ontology Wiki. Some have been inspirational while others reflect approaches that are similar in some ways. This list is also important to us as a library of bibliographic references. *Holopainen, J. & Björk, S. (2007) Design patterns are Dead - Long Live Design Patterns. Borries, Friedrich von, Walz, Steffen P., Böttger, Matthias (eds.) (2007), Space Time Play. On the Synergy *Between Computer Games, Architecture, and Urbanism, Birkhäuser Publishing, Basel Boston Berlin. *Holopainen, J., Björk, S. & Kuittinen, J. (2007). Teaching Gameplay Design Patterns. Paper presentation at ISAGA 2007, Nijmegen,The Netherlands. Winner of the The ISAGA Outstanding Paper award. *Lankoski, P. & Björk, S. (2007). Gameplay Design Patterns for Believable Non-Player Characters. Paper presentation at DiGRA 2007, Tokyo, Japan. *Lankoski, P. & Björk, S. (2007). Gameplay design Patterns for Social Netowrks and Conflicts. Paper Presentation at Computer Game Design and Technology Workshop, John Moores University, Liverpool. *Mor, Y., Winters, N., Pratt, D. & Björk, S. (2007). Tools for Developing Design Patterns for Mathematical Computer Games. Paper presentation at the Game in' Action conference, Göteborg, Sweden. *Peitz, J. & Björk, S. (2007). Understanding Pervasive Games through Gameplay Design Patterns. Paper presentation at DiGRA 2007, Tokyo, Japan. *Zagal, J.P., Aarseth, E., Björk, S., Holopainen, J. & Mateas, M. (2007). Patterns, Typology and Ontology: An Overview and Discussion of the Formal Analysis of Games and Gameplay. Panel at DiGRA 2007, Tokyo, Japan. *Cook, Daniel (2006), "[http://www.lostgarden.com/2006/01/creating-system-of-game-play-notation.html Creating a system of game play notation]", [http://www.lostgarden.com/ Lost Garden] Blog *Koster, Raph (2005) "[http://www.theoryoffun.com/grammar/gdc2005.htm A Grammar of Gameplay]", Presented at the Game Devoper's Conference 2005. *Björk, S. & Holopainen, J. (2004) Patterns in Game Design. Charles River Media. ISBN1-58450-354-8. *Björk, S., & Holopainen, J. (2003) Describing Games - An Interaction-Centric Structural Framework. In Copier, M. & Raessens, J. (Eds.) (2003) Level Up - CD-ROM Proceedings of Digital Games Research Conference 2003, Utrecht, The Netherlands, 4-6 November 2003. *Björk, S., Lundgren, S. & Holopainen, J. (2003) Game Design Patterns. In Copier, M. & Raessens, J. (Eds.) (2003) Level Up - Proceedings of Digital Games Research Conference 2003, Utrecht, The Netherlands, 4-6 November 2003. *Lindley, Craig (2003) "[http://www.gamasutra.com/features/20031003/lindley_01.shtml Game Taxonomies: A High Level Framework for Game Analysis and Design]", [http://www.gamasutra.com/ Gamasutra.com] *Bateman, Chris, et al. (2006) Play Spec Symposium. Against formal approaches for describing games *Fitch, Michael **[http://www.micrysweb.com/library/platonism.html Platonism and Game Design Theory] **[http://www.micrysweb.com/office/formallanguage.html Against a Formal Language for Game Design] Other projects *[http://tvtropes.org/pmwiki/pmwiki.php/Main/VideogameTropes VideogameTropes] 97874f9110bf834280c15ee75314b036cb968483 241 240 2015-07-21T00:31:19Z Jzagal 2 wikitext text/x-wiki This is an alphabetized list of articles, books and sources that have been important to the Game Ontology Wiki. Some have been inspirational while others reflect approaches that are similar in some ways. This list is also important to us as a library of bibliographic references. *Holopainen, J. & Björk, S. (2007) Design patterns are Dead - Long Live Design Patterns. Borries, Friedrich von, Walz, Steffen P., Böttger, Matthias (eds.) (2007), Space Time Play. On the Synergy *Between Computer Games, Architecture, and Urbanism, Birkhäuser Publishing, Basel Boston Berlin. *Holopainen, J., Björk, S. & Kuittinen, J. (2007). Teaching Gameplay Design Patterns. Paper presentation at ISAGA 2007, Nijmegen,The Netherlands. Winner of the The ISAGA Outstanding Paper award. *Lankoski, P. & Björk, S. (2007). Gameplay Design Patterns for Believable Non-Player Characters. Paper presentation at DiGRA 2007, Tokyo, Japan. *Lankoski, P. & Björk, S. (2007). Gameplay design Patterns for Social Netowrks and Conflicts. Paper Presentation at Computer Game Design and Technology Workshop, John Moores University, Liverpool. *Mor, Y., Winters, N., Pratt, D. & Björk, S. (2007). Tools for Developing Design Patterns for Mathematical Computer Games. Paper presentation at the Game in' Action conference, Göteborg, Sweden. *Peitz, J. & Björk, S. (2007). Understanding Pervasive Games through Gameplay Design Patterns. Paper presentation at DiGRA 2007, Tokyo, Japan. *Zagal, J.P., Aarseth, E., Björk, S., Holopainen, J. & Mateas, M. (2007). Patterns, Typology and Ontology: An Overview and Discussion of the Formal Analysis of Games and Gameplay. Panel at DiGRA 2007, Tokyo, Japan. *Cook, Daniel (2006), "[http://www.lostgarden.com/2006/01/creating-system-of-game-play-notation.html Creating a system of game play notation]", [http://www.lostgarden.com/ Lost Garden] Blog *Koster, Raph (2005) "[http://www.theoryoffun.com/grammar/gdc2005.htm A Grammar of Gameplay]", Presented at the Game Devoper's Conference 2005. *Björk, S. & Holopainen, J. (2004) Patterns in Game Design. Charles River Media. ISBN1-58450-354-8. *Björk, S., & Holopainen, J. (2003) Describing Games - An Interaction-Centric Structural Framework. In Copier, M. & Raessens, J. (Eds.) (2003) Level Up - CD-ROM Proceedings of Digital Games Research Conference 2003, Utrecht, The Netherlands, 4-6 November 2003. *Björk, S., Lundgren, S. & Holopainen, J. (2003) Game Design Patterns. In Copier, M. & Raessens, J. (Eds.) (2003) Level Up - Proceedings of Digital Games Research Conference 2003, Utrecht, The Netherlands, 4-6 November 2003. *Lindley, Craig (2003) "[http://www.gamasutra.com/features/20031003/lindley_01.shtml Game Taxonomies: A High Level Framework for Game Analysis and Design]", [http://www.gamasutra.com/ Gamasutra.com] *Bateman, Chris, et al. (2006) Play Spec Symposium. Against formal approaches for describing games *Fitch, Michael **[http://www.micrysweb.com/library/platonism.html Platonism and Game Design Theory] **[http://www.micrysweb.com/office/formallanguage.html Against a Formal Language for Game Design] Other projects *VideogameTropes 2414c874f9c63889c2a8cd0ee371a13b80b7c928 240 239 2015-07-21T00:30:47Z Jzagal 2 wikitext text/x-wiki This is an alphabetized list of articles, books and sources that have been important to the Game Ontology Wiki. Some have been inspirational while others reflect approaches that are similar in some ways. This list is also important to us as a library of bibliographic references. *Holopainen, J. & Björk, S. (2007) Design patterns are Dead - Long Live Design Patterns. Borries, Friedrich von, Walz, Steffen P., Böttger, Matthias (eds.) (2007), Space Time Play. On the Synergy *Between Computer Games, Architecture, and Urbanism, Birkhäuser Publishing, Basel Boston Berlin. *Holopainen, J., Björk, S. & Kuittinen, J. (2007). Teaching Gameplay Design Patterns. Paper presentation at ISAGA 2007, Nijmegen,The Netherlands. Winner of the The ISAGA Outstanding Paper award. *Lankoski, P. & Björk, S. (2007). Gameplay Design Patterns for Believable Non-Player Characters. Paper presentation at DiGRA 2007, Tokyo, Japan. *Lankoski, P. & Björk, S. (2007). Gameplay design Patterns for Social Netowrks and Conflicts. Paper Presentation at Computer Game Design and Technology Workshop, John Moores University, Liverpool. *Mor, Y., Winters, N., Pratt, D. & Björk, S. (2007). Tools for Developing Design Patterns for Mathematical Computer Games. Paper presentation at the Game in' Action conference, Göteborg, Sweden. *Peitz, J. & Björk, S. (2007). Understanding Pervasive Games through Gameplay Design Patterns. Paper presentation at DiGRA 2007, Tokyo, Japan. *Zagal, J.P., Aarseth, E., Björk, S., Holopainen, J. & Mateas, M. (2007). Patterns, Typology and Ontology: An Overview and Discussion of the Formal Analysis of Games and Gameplay. Panel at DiGRA 2007, Tokyo, Japan. *Cook, Daniel (2006), "[http://www.lostgarden.com/2006/01/creating-system-of-game-play-notation.html Creating a system of game play notation]", [http://www.lostgarden.com/ Lost Garden] Blog *Koster, Raph (2005) "[http://www.theoryoffun.com/grammar/gdc2005.htm A Grammar of Gameplay]", Presented at the Game Devoper's Conference 2005. *Björk, S. & Holopainen, J. (2004) Patterns in Game Design. Charles River Media. ISBN1-58450-354-8. *Björk, S., & Holopainen, J. (2003) Describing Games - An Interaction-Centric Structural Framework. In Copier, M. & Raessens, J. (Eds.) (2003) Level Up - CD-ROM Proceedings of Digital Games Research Conference 2003, Utrecht, The Netherlands, 4-6 November 2003. *Björk, S., Lundgren, S. & Holopainen, J. (2003) Game Design Patterns. In Copier, M. & Raessens, J. (Eds.) (2003) Level Up - Proceedings of Digital Games Research Conference 2003, Utrecht, The Netherlands, 4-6 November 2003. *Lindley, Craig (2003) "[http://www.gamasutra.com/features/20031003/lindley_01.shtml Game Taxonomies: A High Level Framework for Game Analysis and Design]", [http://www.gamasutra.com/ Gamasutra.com] *Bateman, Chris, et al. (2006) Play Spec Symposium. Against formal approaches for describing games *Fitch, Michael **[http://www.micrysweb.com/library/platonism.html Platonism and Game Design Theory] **Against a Formal Language for Game Design Other projects *VideogameTropes 1aa92ecb2cd0de39614a9f9c0b756af841c9f00b 239 238 2015-07-21T00:29:43Z Jzagal 2 wikitext text/x-wiki This is an alphabetized list of articles, books and sources that have been important to the Game Ontology Wiki. Some have been inspirational while others reflect approaches that are similar in some ways. This list is also important to us as a library of bibliographic references. *Holopainen, J. & Björk, S. (2007) Design patterns are Dead - Long Live Design Patterns. Borries, Friedrich von, Walz, Steffen P., Böttger, Matthias (eds.) (2007), Space Time Play. On the Synergy *Between Computer Games, Architecture, and Urbanism, Birkhäuser Publishing, Basel Boston Berlin. *Holopainen, J., Björk, S. & Kuittinen, J. (2007). Teaching Gameplay Design Patterns. Paper presentation at ISAGA 2007, Nijmegen,The Netherlands. Winner of the The ISAGA Outstanding Paper award. *Lankoski, P. & Björk, S. (2007). Gameplay Design Patterns for Believable Non-Player Characters. Paper presentation at DiGRA 2007, Tokyo, Japan. *Lankoski, P. & Björk, S. (2007). Gameplay design Patterns for Social Netowrks and Conflicts. Paper Presentation at Computer Game Design and Technology Workshop, John Moores University, Liverpool. *Mor, Y., Winters, N., Pratt, D. & Björk, S. (2007). Tools for Developing Design Patterns for Mathematical Computer Games. Paper presentation at the Game in' Action conference, Göteborg, Sweden. *Peitz, J. & Björk, S. (2007). Understanding Pervasive Games through Gameplay Design Patterns. Paper presentation at DiGRA 2007, Tokyo, Japan. *Zagal, J.P., Aarseth, E., Björk, S., Holopainen, J. & Mateas, M. (2007). Patterns, Typology and Ontology: An Overview and Discussion of the Formal Analysis of Games and Gameplay. Panel at DiGRA 2007, Tokyo, Japan. *Cook, Daniel (2006), "[http://www.lostgarden.com/2006/01/creating-system-of-game-play-notation.html Creating a system of game play notation]", [http://www.lostgarden.com/ Lost Garden] Blog *Koster, Raph (2005) "[http://www.theoryoffun.com/grammar/gdc2005.htm A Grammar of Gameplay]", Presented at the Game Devoper's Conference 2005. *Björk, S. & Holopainen, J. (2004) Patterns in Game Design. Charles River Media. ISBN1-58450-354-8. *Björk, S., & Holopainen, J. (2003) Describing Games - An Interaction-Centric Structural Framework. In Copier, M. & Raessens, J. (Eds.) (2003) Level Up - CD-ROM Proceedings of Digital Games Research Conference 2003, Utrecht, The Netherlands, 4-6 November 2003. *Björk, S., Lundgren, S. & Holopainen, J. (2003) Game Design Patterns. In Copier, M. & Raessens, J. (Eds.) (2003) Level Up - Proceedings of Digital Games Research Conference 2003, Utrecht, The Netherlands, 4-6 November 2003. *Lindley, Craig (2003) "[http://www.gamasutra.com/features/20031003/lindley_01.shtml Game Taxonomies: A High Level Framework for Game Analysis and Design]", [http://www.gamasutra.com/ Gamasutra.com] *Bateman, Chris, et al. (2006) Play Spec Symposium. Against formal approaches for describing games *Fitch, Michael **Platonism and Game Design Theory **Against a Formal Language for Game Design Other projects *VideogameTropes 7962f17b75e7a79429dd39da60c46ff7300ad6e4 238 237 2015-07-21T00:29:04Z Jzagal 2 wikitext text/x-wiki This is an alphabetized list of articles, books and sources that have been important to the Game Ontology Wiki. Some have been inspirational while others reflect approaches that are similar in some ways. This list is also important to us as a library of bibliographic references. *Holopainen, J. & Björk, S. (2007) Design patterns are Dead - Long Live Design Patterns. Borries, Friedrich von, Walz, Steffen P., Böttger, Matthias (eds.) (2007), Space Time Play. On the Synergy *Between Computer Games, Architecture, and Urbanism, Birkhäuser Publishing, Basel Boston Berlin. *Holopainen, J., Björk, S. & Kuittinen, J. (2007). Teaching Gameplay Design Patterns. Paper presentation at ISAGA 2007, Nijmegen,The Netherlands. Winner of the The ISAGA Outstanding Paper award. *Lankoski, P. & Björk, S. (2007). Gameplay Design Patterns for Believable Non-Player Characters. Paper presentation at DiGRA 2007, Tokyo, Japan. *Lankoski, P. & Björk, S. (2007). Gameplay design Patterns for Social Netowrks and Conflicts. Paper Presentation at Computer Game Design and Technology Workshop, John Moores University, Liverpool. *Mor, Y., Winters, N., Pratt, D. & Björk, S. (2007). Tools for Developing Design Patterns for Mathematical Computer Games. Paper presentation at the Game in' Action conference, Göteborg, Sweden. *Peitz, J. & Björk, S. (2007). Understanding Pervasive Games through Gameplay Design Patterns. Paper presentation at DiGRA 2007, Tokyo, Japan. *Zagal, J.P., Aarseth, E., Björk, S., Holopainen, J. & Mateas, M. (2007). Patterns, Typology and Ontology: An Overview and Discussion of the Formal Analysis of Games and Gameplay. Panel at DiGRA 2007, Tokyo, Japan. *Cook, Daniel (2006), "[http://www.lostgarden.com/2006/01/creating-system-of-game-play-notation.html Creating a system of game play notation]", [http://www.lostgarden.com/ Lost Garden] Blog *Koster, Raph (2005) "[http://www.theoryoffun.com/grammar/gdc2005.htm A Grammar of Gameplay]", Presented at the Game Devoper's Conference 2005. *Björk, S. & Holopainen, J. (2004) Patterns in Game Design. Charles River Media. ISBN1-58450-354-8. *Björk, S., & Holopainen, J. (2003) Describing Games - An Interaction-Centric Structural Framework. In Copier, M. & Raessens, J. (Eds.) (2003) Level Up - CD-ROM Proceedings of Digital Games Research Conference 2003, Utrecht, The Netherlands, 4-6 November 2003. *Björk, S., Lundgren, S. & Holopainen, J. (2003) Game Design Patterns. In Copier, M. & Raessens, J. (Eds.) (2003) Level Up - Proceedings of Digital Games Research Conference 2003, Utrecht, The Netherlands, 4-6 November 2003. *Lindley, Craig (2003) "Game Taxonomies: A High Level Framework for Game Analysis and Design", Gamasutra.com *Bateman, Chris, et al. (2006) Play Spec Symposium. Against formal approaches for describing games *Fitch, Michael **Platonism and Game Design Theory **Against a Formal Language for Game Design Other projects *VideogameTropes eddf74639920e377679ba856c9d78612b4a036b9 237 236 2015-07-21T00:28:38Z Jzagal 2 wikitext text/x-wiki This is an alphabetized list of articles, books and sources that have been important to the Game Ontology Wiki. Some have been inspirational while others reflect approaches that are similar in some ways. This list is also important to us as a library of bibliographic references. *Holopainen, J. & Björk, S. (2007) Design patterns are Dead - Long Live Design Patterns. Borries, Friedrich von, Walz, Steffen P., Böttger, Matthias (eds.) (2007), Space Time Play. On the Synergy *Between Computer Games, Architecture, and Urbanism, Birkhäuser Publishing, Basel Boston Berlin. *Holopainen, J., Björk, S. & Kuittinen, J. (2007). Teaching Gameplay Design Patterns. Paper presentation at ISAGA 2007, Nijmegen,The Netherlands. Winner of the The ISAGA Outstanding Paper award. *Lankoski, P. & Björk, S. (2007). Gameplay Design Patterns for Believable Non-Player Characters. Paper presentation at DiGRA 2007, Tokyo, Japan. *Lankoski, P. & Björk, S. (2007). Gameplay design Patterns for Social Netowrks and Conflicts. Paper Presentation at Computer Game Design and Technology Workshop, John Moores University, Liverpool. *Mor, Y., Winters, N., Pratt, D. & Björk, S. (2007). Tools for Developing Design Patterns for Mathematical Computer Games. Paper presentation at the Game in' Action conference, Göteborg, Sweden. *Peitz, J. & Björk, S. (2007). Understanding Pervasive Games through Gameplay Design Patterns. Paper presentation at DiGRA 2007, Tokyo, Japan. *Zagal, J.P., Aarseth, E., Björk, S., Holopainen, J. & Mateas, M. (2007). Patterns, Typology and Ontology: An Overview and Discussion of the Formal Analysis of Games and Gameplay. Panel at DiGRA 2007, Tokyo, Japan. *Cook, Daniel (2006), "[http://www.lostgarden.com/2006/01/creating-system-of-game-play-notation.html Creating a system of game play notation]", [http://www.lostgarden.com/ Lost Garden] Blog *Koster, Raph (2005) "A Grammar of Gameplay", Presented at the Game Devoper's Conference 2005. *Björk, S. & Holopainen, J. (2004) Patterns in Game Design. Charles River Media. ISBN1-58450-354-8. *Björk, S., & Holopainen, J. (2003) Describing Games - An Interaction-Centric Structural Framework. In Copier, M. & Raessens, J. (Eds.) (2003) Level Up - CD-ROM Proceedings of Digital Games Research Conference 2003, Utrecht, The Netherlands, 4-6 November 2003. *Björk, S., Lundgren, S. & Holopainen, J. (2003) Game Design Patterns. In Copier, M. & Raessens, J. (Eds.) (2003) Level Up - Proceedings of Digital Games Research Conference 2003, Utrecht, The Netherlands, 4-6 November 2003. *Lindley, Craig (2003) "Game Taxonomies: A High Level Framework for Game Analysis and Design", Gamasutra.com *Bateman, Chris, et al. (2006) Play Spec Symposium. Against formal approaches for describing games *Fitch, Michael **Platonism and Game Design Theory **Against a Formal Language for Game Design Other projects *VideogameTropes 922de906b71c288ddcddd8c5fe3f3e0dd101e4f5 236 235 2015-07-21T00:28:06Z Jzagal 2 wikitext text/x-wiki This is an alphabetized list of articles, books and sources that have been important to the Game Ontology Wiki. Some have been inspirational while others reflect approaches that are similar in some ways. This list is also important to us as a library of bibliographic references. *Holopainen, J. & Björk, S. (2007) Design patterns are Dead - Long Live Design Patterns. Borries, Friedrich von, Walz, Steffen P., Böttger, Matthias (eds.) (2007), Space Time Play. On the Synergy *Between Computer Games, Architecture, and Urbanism, Birkhäuser Publishing, Basel Boston Berlin. *Holopainen, J., Björk, S. & Kuittinen, J. (2007). Teaching Gameplay Design Patterns. Paper presentation at ISAGA 2007, Nijmegen,The Netherlands. Winner of the The ISAGA Outstanding Paper award. *Lankoski, P. & Björk, S. (2007). Gameplay Design Patterns for Believable Non-Player Characters. Paper presentation at DiGRA 2007, Tokyo, Japan. *Lankoski, P. & Björk, S. (2007). Gameplay design Patterns for Social Netowrks and Conflicts. Paper Presentation at Computer Game Design and Technology Workshop, John Moores University, Liverpool. *Mor, Y., Winters, N., Pratt, D. & Björk, S. (2007). Tools for Developing Design Patterns for Mathematical Computer Games. Paper presentation at the Game in' Action conference, Göteborg, Sweden. *Peitz, J. & Björk, S. (2007). Understanding Pervasive Games through Gameplay Design Patterns. Paper presentation at DiGRA 2007, Tokyo, Japan. *Zagal, J.P., Aarseth, E., Björk, S., Holopainen, J. & Mateas, M. (2007). Patterns, Typology and Ontology: An Overview and Discussion of the Formal Analysis of Games and Gameplay. Panel at DiGRA 2007, Tokyo, Japan. *Cook, Daniel (2006), "[http://www.lostgarden.com/2006/01/creating-system-of-game-play-notation.html Creating a system of game play notation]", Lost Garden Blog *Koster, Raph (2005) "A Grammar of Gameplay", Presented at the Game Devoper's Conference 2005. *Björk, S. & Holopainen, J. (2004) Patterns in Game Design. Charles River Media. ISBN1-58450-354-8. *Björk, S., & Holopainen, J. (2003) Describing Games - An Interaction-Centric Structural Framework. In Copier, M. & Raessens, J. (Eds.) (2003) Level Up - CD-ROM Proceedings of Digital Games Research Conference 2003, Utrecht, The Netherlands, 4-6 November 2003. *Björk, S., Lundgren, S. & Holopainen, J. (2003) Game Design Patterns. In Copier, M. & Raessens, J. (Eds.) (2003) Level Up - Proceedings of Digital Games Research Conference 2003, Utrecht, The Netherlands, 4-6 November 2003. *Lindley, Craig (2003) "Game Taxonomies: A High Level Framework for Game Analysis and Design", Gamasutra.com *Bateman, Chris, et al. (2006) Play Spec Symposium. Against formal approaches for describing games *Fitch, Michael **Platonism and Game Design Theory **Against a Formal Language for Game Design Other projects *VideogameTropes 2ed612209fbe7410efb6ee5b87cc66313acecd3b 235 2015-07-21T00:27:05Z Jzagal 2 Created page with " This is an alphabetized list of articles, books and sources that have been important to the Game Ontology Wiki. Some have been inspirational while others reflect approaches t..." wikitext text/x-wiki This is an alphabetized list of articles, books and sources that have been important to the Game Ontology Wiki. Some have been inspirational while others reflect approaches that are similar in some ways. This list is also important to us as a library of bibliographic references. *Holopainen, J. & Björk, S. (2007) Design patterns are Dead - Long Live Design Patterns. Borries, Friedrich von, Walz, Steffen P., Böttger, Matthias (eds.) (2007), Space Time Play. On the Synergy *Between Computer Games, Architecture, and Urbanism, Birkhäuser Publishing, Basel Boston Berlin. *Holopainen, J., Björk, S. & Kuittinen, J. (2007). Teaching Gameplay Design Patterns. Paper presentation at ISAGA 2007, Nijmegen,The Netherlands. Winner of the The ISAGA Outstanding Paper award. *Lankoski, P. & Björk, S. (2007). Gameplay Design Patterns for Believable Non-Player Characters. Paper presentation at DiGRA 2007, Tokyo, Japan. *Lankoski, P. & Björk, S. (2007). Gameplay design Patterns for Social Netowrks and Conflicts. Paper Presentation at Computer Game Design and Technology Workshop, John Moores University, Liverpool. *Mor, Y., Winters, N., Pratt, D. & Björk, S. (2007). Tools for Developing Design Patterns for Mathematical Computer Games. Paper presentation at the Game in' Action conference, Göteborg, Sweden. *Peitz, J. & Björk, S. (2007). Understanding Pervasive Games through Gameplay Design Patterns. Paper presentation at DiGRA 2007, Tokyo, Japan. *Zagal, J.P., Aarseth, E., Björk, S., Holopainen, J. & Mateas, M. (2007). Patterns, Typology and Ontology: An Overview and Discussion of the Formal Analysis of Games and Gameplay. Panel at DiGRA 2007, Tokyo, Japan. *Cook, Daniel (2006), "Creating a system of game play notation", Lost Garden Blog *Koster, Raph (2005) "A Grammar of Gameplay", Presented at the Game Devoper's Conference 2005. *Björk, S. & Holopainen, J. (2004) Patterns in Game Design. Charles River Media. ISBN1-58450-354-8. *Björk, S., & Holopainen, J. (2003) Describing Games - An Interaction-Centric Structural Framework. In Copier, M. & Raessens, J. (Eds.) (2003) Level Up - CD-ROM Proceedings of Digital Games Research Conference 2003, Utrecht, The Netherlands, 4-6 November 2003. *Björk, S., Lundgren, S. & Holopainen, J. (2003) Game Design Patterns. In Copier, M. & Raessens, J. (Eds.) (2003) Level Up - Proceedings of Digital Games Research Conference 2003, Utrecht, The Netherlands, 4-6 November 2003. *Lindley, Craig (2003) "Game Taxonomies: A High Level Framework for Game Analysis and Design", Gamasutra.com *Bateman, Chris, et al. (2006) Play Spec Symposium. Against formal approaches for describing games *Fitch, Michael **Platonism and Game Design Theory **Against a Formal Language for Game Design Other projects *VideogameTropes 972809809c84eab511e928f9e91fe458bd34a15e 0 163 163 2008-12-18T21:06:53Z Jp 0 13 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Goals]] Required goals must be accomplished to finish (or win) a game. There are no workarounds or alternatives for these goals; they are frequently referred to as bottle-necks that impede a players progress in a game. Required goals can be considered as those goals that are on the critical-path towards success with the game. The existence of required goals is not necessarily associated with linearity in games. In other words, it is possible for a game to have a set of required goals that must all be accomplished though the order in which they must be tackled is left to the players discretion. ==Examples== ===Strong Example=== ====Super Mario Bros==== Super Mario Bros provides a strong example of required goals. The goal in the majority of the levels is simply to get to the end. The other ones require that you defeat a boss. In both cases the only way to proceed is to complete these goals. ====Goldeneye 64==== in Goldeneye 64, each level has its own set of mission objectives, which include thing like picking up a certain item or destroying a certain object. Unless every single one of these goals are met, reaching the end of a level will simply result in the player having to start that level over. ====Kirby's Adventure==== Kirby's Adventure is a prime example of the idea of "bottle-neck" goals for game progression. Kirby is only allowed to enter one door (to a level) at a time and is only allowed to progress to the next door when the first is beaten. ====Diablo 2==== In Diablo 2, play cannot progress past the current act until the player defeats the Boss for that act. Within acts there is some freedom (barely) of which task to complete first, but for the most part each of these must also be completed in sequence. Once a player defeats the boss for the given act, they can move on to the next act but this can sometimes be frustrating as players are forced to increase their character's skill in order to defeat the boss (confined to the areas leading up to the boss's location). ====Splinter Cell:Double Agent==== In Splinter Cell: Double Agent, each mission has its own set of primary objectives which you must complete in order to gain trust with various factions, otherwise you will fail the game. The more objectives you complete with one faction, the more you lose trust with another. ===Weak Examples=== ====Need for Speed==== Need For Speed also provides a strong example of required goals. Winning the race is usually the goal and its the only way. However, there are some variations like winning a certain number of the races in the main campaign, so it isn't necesarry to win ALL the races, just a certain amount. ====Black & White==== In Black & White, there are certain activities that the player is supposed to complete in order to progress in the game (for example, visit Nemesis' gargantuan ex-Creature wandering about the first island to learn to fight and such). If the player desires, however, they can forego this and simply attend to the original village's needs without progressing the game's storyline. This leaves the player in something of a state of stasis, but a player can technically consider themselves successful at the game by simply keeping that first village happy and healthy without progressing any further in the overall story. ---- ==Parent== *[[Game Goals]] ---- ==Children== None ab315cdf720ce0c46e03075252f5783555c0d590 0 164 164 2008-12-18T21:06:54Z Jp 0 29 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] Resource exhaustion is perhaps the most common way for a game to reach its end. If we understand resources as those things the player has to manage while playing the game, we can see that most games have players managing the number of lives available, the amount of time left, the number of turns to play (if the number is fixed), or the choices they can make. There are also indirect ways in which a player, through the exhaustion of resources, may be trapped in a position in which it becomes impossible for him to win the game. For example, in some first-person shooters the player has no way to inflict damage if he runs out of ammunition for all weapons. Thus, assuming that he is obliged to defeat an enemy to continue playing, he has lost the game due to the exhaustion of ammunition. ==Examples== ===Strong Example=== ====Starcraft==== This game uses the idea of resourse exhaustion with actual resources. In order to build a bigger base, the player must gather vespene gass along with minerals. Once you run out of these resources, it is possible to find another deposit of said resources on another portion of the map. However, if all the resources on the map become completely exhausted, the player has no way to build a bigger base, and becomes vulnerable to another player that still has resource income. ====Gradius==== The game Gradius relies on resource exhaustion to make the game challenging. In the Japanese version of Gradius, the player has 3 lives and only 3 lives (which can be extended via points), and once the player consumes all their lives, the game is over and they must restart the game. ====The Legend of Zelda: Majora's Mask==== In Legend of Zelda: Majora's Mask, the game only ends when hearts are exhausted. Hearts can be collected from various in-game drops, as well as by potions and faries, but when hearts are gone, the game is over. ====Pac-man==== In Pac-Man, the player has a limited number of lives with which to play the game. Whenever a ghost touches a Pac-Man (without power pill), Pac Man loses a life. When there are no more lives to be lost, the game ends. ====Sokoban==== In the classic strategy game Sokoban, the player has to push crates (or boxes) into empty spaces. Since a box that has been backed into a corner cant be pushed out, it is possible for a player to exhaust the possible movements (ie, pushes) he can perform. If this occurs in a situation in which the boxes arent in their final (or destination) positions, the game ends. ===Weak Example=== ====Diablo II==== In Diablo II, the player has a limited amount of the resource health, however even if that runs out, the character loses only the equipment he/she is carrying and re spawns in town. Since the character can continue from that point, it is simply a matter of being set back a little every time one dies and thus a player can never end the game due to resource exhaustion. In fact, with this setup, aside from the loss of currently equipped equipment, the player is not really discouraged from dying. ====Starcraft==== In Starcraft when you run out of vespene gas and crystals.You can no longer build units since it is your economical base. However, if you've amassed a large enough army, you can still win the game since victory is dependent on meeting mission goals or eliminating the enemy. ====Super Monkey Balls: Banana Blitz==== This game is a weak example of resource exhaustion because in the main game play, allthought you have a certain amount of lives you have started with or added to- once you have lost these lives and reach a game over- you are given the option to "continue" which starts you with the same amount of completed levels, and gives you more live. This continue option itself is never exhausted, so in a sense you never really die or run out of lives. ====Warcraft III: The Frozen Throne==== In Warcraft III: The Frozen Throne, if an online game lasts too long, the existing gold mines and trees can be completely mined out. These resources do not regenerate, and once this resource exhaustion is achieved, players must make do with the money/units they have to attempt to win the game. This is a weak example because the exhaustion of resources isn't directly tied to the end of the game (the game doesn't end when you run out of gold or trees), however there is a definite indirect relationship. ====Gears of War==== In Gears of War your health is represented by a red skull symbol that begins to appear as your character takes damage. If the symbol becomse to prominent your character dies, but if you take cover and hide your health will replenish to 100%. I believe Gears of War is a weak examples of resource exhaustion because even if you take massive amounts of damage and are about to die, you can just hide and wait and your character will recuperate his health completely. The fact that you don't have a set amount of health or lives makes Gears of War a weak examples of resource exhaustion. ====Team Fortress Classic==== All classes’ main weapons are firearms with a limited amount of ammunition, with arguable exception of the spy. If a player runs out of ammunition during a fire fight, they are placed into a severely disadvantaged position. If they wish to continue fighting their opponent, they will have to resort to melee weapons, which are significantly weaker than their main weapons. At that point, with depleted resources, the player is practically considered dead. ---- ==Parent== *[[Game Ends]] ---- ==Children== None 119aa38d4275e897e03b80113762bc5dc92ab06f 0 165 165 2008-12-18T21:06:54Z Jp 0 2 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] The camera moves through the game world under the player's control. This often appears in games where the player controls multiple entities and there is no specific entity for which teams or armies compete. (That is, unlike many sports, there's no ball, puck, or similar game token that localizes where action significant to the game takes place.) Strategy games and puzzle games with play areas larger than one screen often use a roaming camera view. '''Strong example''' Homeworld [Relic, 1999] provides the player full control over a three dimensional camera view of the game's three dimensional game space. Player's control over the camera is only limited by the outer bounds of the game world. ---- ====Parent==== *[[Camera Binding]] ---- ====Children==== None ---- ====References==== Relic, developer (1999). Homeworld. Sierra, windows edition. 912c6d0bb0ca371cd4f944614f8e223650f6f949 0 166 166 2008-12-18T21:06:54Z Jp 0 2 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Rotary paddle controls provide a point value along a single axis. Historically this has taken the form of a numeric value from 0-255 inclusive, but devices with a coarser or finer range of values can be created. ---- ====Parent==== *[[Input Devices]] ---- ====Children==== None 69cc7ea0022a48b8cf9b3cc518cd7f13823423f1 0 192 192 2008-12-18T21:06:55Z Jp 0 8 revision(s) wikitext text/x-wiki {{proposal}}[[Category: Proposal]] In games that use rounds, players independently either decide their actions and then resolve the consequences of these actions simultaneously, take turns performing their actions. Once the actions have been resolved, a new round begins and the players must again decide their actions. Rock-Paper-Scissors is a classic example of this type of coordination. This form of segmentation regulates players’ actions over time, but does not necessarily constrain the length of time their moves can take. The number of rounds played can also be used to trigger in-game events (eg. reinforcements arrive on round three) or serve as a game goal (eg. win before round five or best of three rounds). ==Examples== ===Strong examples=== ====Civilization==== In Civilization player's take turn deciding on the actions they want their units to take, when they are done, these are executed and it is the next player's (or AI) turn. Once everybody has acted, a new round beings. In the fictive temporal frame for Civilization, each turn is labelled as equivalent to the passage of a certain number of years. Initially a round represents 200 years. Towards the end of the game, rounds are equivalent to year. ====Advance Wars==== In Advance Wars rounds are labeled as days. In the game, the player often controls multiple armies as well as fighting one or more enemy armies. Each army is "led" by a commanding officer (CO) and they take turns carrying out their actions. Once everyone has acted, a new day begins and certain in-game effects might be triggered (there are some missions with objectives such as win before Day X). At the end of each mission, assuming success, players are also evaluated using a few parameters. One of these is the speed in which the mission was cleared: the less days (rounds) used, the better. ===Weak examples=== ==Relations with other elements of the Ontology== ===Parent=== *[[Temporal Coordination]] ===Children=== None ==References== Name of Developer, developer (yyyy), Name of the Game. Name of the Publisher, Name of the Platform edition. e48a697242959a458fad4cabbf2a6e2d3a3d65f5 0 167 167 2008-12-18T21:06:55Z Jp 0 21 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] The rules and constraints of a game define what can or cant be done in a game. They lay down the framework, or model, within which the game shall take place. Rules regulate the development of the game and determine the basic interactions that can take place within it. (Zagal, Nussbaum et al. 2000) A games rules should not be considered static or fixed. In fact, some games, like Fluxx, are based on the idea that the games rules are constantly changing as the game is played. (Looney 1998) ---- ====Children==== *[[Rules Synergies]] ---- ====Parts==== *[[Gameplay Rules]] *[[Gameworld Rules]] ---- ====References==== Looney, A. (1998). Fluxx, Looney Laboratories, Inc. Zagal, J., M. Nussbaum, et al. (2000). "A Model to Support the Design of Multiplayer Games." Presence: Teleoperators and Virtual Environments 9(5): 448-462. f24a5c02c0d73d311da7d2d1301fa6bf27c72e7e 0 168 168 2009-08-15T15:37:04Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] Rules synergies aren't rules in and of themselves. The elements found in this section of the ontology are the observed effects, or synergies, that a set of specific rules in a game might have. They describe the relationships between rules and can also describe the strategic options available to players. For example, when considering a real-time strategy game in which a player must use certain resources to buy units, the costs associated to each of these units can have overall synergies and effects on the strategies used by players in the game. If the cost of a new unit increases when the player already has units of that type, there is diseconomy of scale. The marginal cost of each new element increases as more units are bought. If, on the other hand, the cost decreases, there is an economy of scale. In this example, an economy or diseconomy of scale is a rule synergy. Rules synergies are also related to a property called emergence. Many games are simple to learn to play. They don't have many rules and the rules aren't very complex. However, knowing how to play is not sufficient to play the game well. There is more to playing games than simply memorizing the rules. (Juul, 2002) The emergent complexity of a game, can be explained in part by the synergies between rules. ==Examples== ===Strong Examples=== ====Quake 3==== In Quake 3, players discovered that there were ways to achieve jumps that where higher than normal. The technique used applied the fact that a rocket-launcher explosion created a blast-wave that knocked things back. Thus, players where able to jump extremely high by jumping and then firing a rocket-launcher blast into the ground directly beneath them. This was an unintended effect of the weapon by the game designers, but was a result of the synergies between the physics model in the and the rules governing the effects of the rocket launcher. ====Starcraft==== Long term power involves forsaking early units for structures that advance the technology tree, unlocking more powerful units (or pouring money to stabilize your economy). This creates a defensive hole where a small number of weak units can topple a player optimizing his overall strength. Players are motivated to slow their growth early to defend against a potential rush attack. ====Super Smash Bros Melee==== In melee, there is a technique known as wavedashing that has been discovered by players. The wavedash is done by performing an air-dodge close to the ground diagonal to the ground. This causes a sliding effect that allows players to instantaneously change their direction while running or to move while performing attacks that normally require the player to stand still. This is possible because of the physics that accompany air-dodging since the player can air-dodge before actually leaving the ground. ====World of Warcraft==== World of Warcraft is a strong example of rule synergies. For example one of the main activities/goals in WoW, running dungeons requires a diverse group of classes/talent specs to be successful. It is entirely possible in the games coding to allow an entire raid filled with one class to enter a dungeon, however that raid will have little to no success because it will lack the needed elements from other classes left behind. In fact in almost any activity from PvE to PvP in WoW that includes more than 1 person generally can be analyzed and improved by bringing the correct synergy of classes and builds appropreate for the given situation. ===Weak Examples=== ====Cave Story==== The game is highly linear with a complete lack of customization in both the player's approach in progressing in the game, as well as the way weapons can be used. An attempt is made in terms of special weapons combinations, in which certain NPCs have the ability to upgrade your weapon by combining it with another, but happens rarely and is irreversible. ====GTA: San Andreas==== One of the many hazards of this game is the fact that cars explode if they take enough damage. If the player is positioned correctly, this may result in the player being flung either down the street (and out of harm's way) or onto a previously-unreachable rooftop. However, more often than not, this ends with the player taking too much damage from the explosion and dying. ---- ==Parent== *[[Rules]] ---- ==Children== *[[Complete Information]] *[[Dominant Strategy]] *[[Dynamic Difficulty Adjustment]] *[[Economies of Scale]] *[[Economies of Scope]] *[[Incomplete Information]] *[[Intransitive Relationships]] *[[Transitive Relationships]] ---- ==References== Juul, Jesper: "The Open and the Closed: Game of emergence and games of progression". In Frans Mayra (ed.): Computer Game and Digital Cultures Conference Proceedings. Tampere: Tampere University Press 2002. p.323-329. 0410ebe267a192fddddf90fe6bd106075ccc935d 0 169 169 2008-12-18T21:07:18Z Jp 0 44 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] Savepoints are specific (non random and predetermined) places or moments in a game where a players progress in that game is stored for the purpose of allowing the player to resume the game from that point at a later occasion. In other words, a savepoint allows a player to resume playing a game from that point instead of from the beginning. Many games implement savepoints that are triggered or activated automatically. In these cases, the player is usually informed that his progressed has been saved and his gameplaying activities arent interrupted in any way. Other games offer the player the explicit choice of saving his or her progress until that point. This decision is offered to the player in many cases so that he or she may make strategic use of the save point, for example opting not to save if the characters is currently in a non-advantageous position. For example, low on ammunition, health or chances. We note that the purpose of savepoints is to allow the player to save progress within a certain game instance. This is different from games that allow meta-progress to be saved. For example, certain unlockable bonuses that may have been obtained such as extra vehicles, levels or even game modes are not considered within the context of the savepoint definition. ==Examples== ===Strong Examples=== ====Persona: Revelations==== Throughout the world of Persona, you encounter pitch black rooms where pink cherry-blossom-like "Augustus Trees" reside. These trees talk to you and give you a place to rest and save your progress. ====Skies of Arcadia==== There are two types of Savepoints in Skies of Arcadia: the first is a save on the World Map, which allows you to save your cartesian (x,y) location on the World Map, and the second is at a Savepoint that is located somewhere in a [level]. Both Savepoints save your progress up to the point in time when you save your game (including items, bosses you have fought and dungeons you have accomplished). The purpose for the dual save system in Skies of Arcadia is to promote exploration on the World Map, which is drastically bigger than the [[Level|level segmentation]] found elsewhere in the game. ====Shining Force 2==== In Shining Force 2, there are always a series of battles followed by an opportunity to save at a specific house in each town, acting as the save point. If the player loses a battle, he restarts from the previous save point. Sometimes, the game affords you the opportunity to save between battles when there is no town, due to an especially grueling series of battles. ====X-Men Legends II: Rise of the Apocalypse==== This game demonstrates the definition of savepoints very strongly. There are predetermined places where you can save and change characters throughout the level, and saving takes place no where else inside the single player game. ====Ninja Gaiden==== This game only lets you save at the dragon columns which appear spaced throughout the level. Upon death, you can choose which save to start from. ====Gears of War==== This game has an auto save system that saves when you get to a certain point in the level or after you are done killing swarms of bad guys. When you die you are restarted from that savepoint or when you start the game again you start form the savepoint. ====Halo==== In the first-person shooter Halo, there is a mechanism wherein the game automatically saves at certain points. This auto-save feature is used as the default re-starting point if the player where to lose. ====Far Cry==== Far Cry only allows its own autosaves at predetermined points in each level, and only once each. ====Maximo==== In Maximo, the player has the option of saving his progress by paying 100 Koins. This can only be done in a special location that is located in each of the worlds. If you don't have enough Koins, you can't save. ====Okami==== In Okami you there are certain points across the map you allowed to save. These are the only places you are allowed to save the game at during gameplay. ====Metroid==== In all of the Metroid games, from the 2d NES, SNES, Gameboy and GBA iterations to the 3d Metroid Prime games, there are designated save rooms littered throughout the game world. ====Prince of Persia: Sands of Time==== In this game, a water fountain serves as a save point. Once the Prince finds these the player presses a button and enters a screen in which they can save their game. The player can then start from this point in the event of a death or the player turning the game off. ====Final Fantasy XII==== In Final Fantasy XII, the game may only be saved at save points placed liberally throughout the gameworld (in the form of Save Crystals). Some of these locations also serve as warp points to make long-distance travel easier. ====Grand Theft Auto: San Andreas==== In GTA, the player must return to any of his owned properties to save. As the missions progress, the player needs to save his or her progress to return to that point in the game after quitting. After saving at a given property, loading the game again generally spawns the player in or around the last property that player saved at. ====Dragon Quest==== In the first Dragon Quest, in order to save, one had to visit the Church (House of Healing in the NA versions) to save your progress and to heal, serving double duty. ====Tales of the Abyss==== In Tales of the Abyss for the PS2, there are various savepoints scattered throughout towns and dungeons for the player to save. Along the lines of traditional RPGs, there is a save point in every inn and dungeon (especially before boss battles). ====Neverwinter Nights==== In Neverwinter Nights there are two basic types of saves, one that is initiated manually by the player and one and that is initiated automatically by the game. These savepoints are usually at the doors to important places that the player needs to use repeatedly, hence providing a system where even the forgetful gamer will have their play saved automatically on a regular basis. ====Resident Evil 4==== In Resident Evil 4 the player may only save their game for loading later at typewriters in certain rooms in the world. The game also keeps track of how many times you save. It also automatically updates a [[Checkpoint]] from which the player can try again after a death, but players cannot quit the game and start again from the Checkpoint. This system of saving not only encourages the player to "keep on going" and continue playing until he or she finds a save point, but also gives the player a way of saving his or her progress that does not go "out of character" for the game. From a role-play perspective, RE4's typewriters 'type up' the progress of Leon throughout the game: instead of just saying "saving game", it allows the user to remain in the "magic circle" of gameplay. ===Weak Examples=== Many games, especially PC first-person shooters, allow the player to save his progress at any moment. This is usually referred to as Quicksave. This is a weak example of savepoints because essentially the entire gameworld is a savepoint. ====Phantasy Star IV==== In Phantasy Star IV there is no specific save points. The player is able to save anywhere in the game world, except dungeons. This game is a weak example of save points. ====Pokemon==== Pokemon is a weak example of a game with a savepoint. Although the player is allowed to save the game, the save point are specific places as the player can save the game anyone he or she pleases. Pokemon is an example of a game with a savepoint because has saving so the player doesn't have to start from the beginning; however, because the savepoint doesn't fulfill all the requirements for an actual savepoint, Pokemon still falls as a weak example. ====Freedom Fighters==== In Freedom Fighters, by visiting certain fixed location sewer entrances the player can perform two types of saves. The first is called a quicksave, and lets him restart from that location, however the state of that save is only maintained during that play session. Alternately, the player can choose to go back to the base. This effectively saves the game even if the status of many in-level elements are not maintained. So, if the player achieved one of the levels objectives, that would be kept but enemy soldiers would re-spawn. In that sense it is a weak form of savepoint since it actually forces the player to leave the level and re-enter it. The quicksave option maintains the status, but isn't permanent. ====Sim City 4==== In Sim City 4 you are given the option to save or load your cities progress at any point. There is no restrictions on when you can save and quit the game. Since you are given the option of saving at any point this makes Sim City 4 a weak example of savepoints. ====The Legend of Zelda: Twilight Princess==== Like the Ocarina of Time, you are able to access your start menu and save at any point of the game while you are playing. ====Zelda: Ocarina of Time==== ''Zelda: Ocarina of Time'' serves as a weak example for a pretty obvious reason. There are technically no boundaries pertaining to save points but there are boundaries on where it is allowed to save. In rare occasions, such as battling with a boss, that the save feature will not be available. This is because there is no reason to save at this point becuase you cannot progress in any material or physical way until after the boss is defeated. ==== X3: Reunion ==== While the player can only normally save the game when docked at a space station, this is rendered pretty pointless very early in the game with the "Salvage Insurance" item which allows for the player to save at any time. Additionally, there is the auto-save function which automatically saves which can be set to automatically save whenever you land on a station, as well as automatically creating a new save file when you reach key points in the storyline, blurring the lines of specific save-points both spatially and temporally. ====Gears of War==== This game is a weak example because, although you can reach checkpoints and start a game from preset chapters, there is no actual saving. It is actually one of the rather frustrating aspects of the game because there can only be one checkpoint saved at a time and that can be a bother if you are playing on different diffculties instead of just having a couple of save files. ====Tetris DX==== In this game, there are four main versions, all of which you may have a save file in. If you push pause while the shapes are falling and then turn off the game, you can "save" the game and continue to play it at a later time. This is a weak example because you can save at any moment, and you can't have a save file in more than one mode of play at a time. ====Sonic the Hedgehog 3==== Sonic the Hedgehog is a weak example of a save point. Saving is introduced in Sonic the Hedgehog 3, but the player has no real control over the saving process. Saving occurs automatically at the end of each level. The player cannot choose when to save. ---- ===Parent=== *[[Gameworld Rules]] ---- ===Children=== None b86a18d260efa403deb0dd0ec3328c69f04081d8 0 170 170 2009-08-15T15:36:35Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Goals]] Score, or a scoring system, is perhaps the most commonly used goal metric in games. The act of scoring is quantifying players actions in a cumulative fashion. Not necessarily all actions are awarded a value and many times different valued actions can be awarded different scores based on things such as difficulty to perform Score is also commonly used to determine winning and losing conditions in games. In particular, this is seen when it is used in games that have teams or opposing sides. For example, most sports games determine the winner of a confrontation on the basis of which team achieved the highest score. It doesnt make any difference what that score was, just the fact that it was higher than the opponents. ---- ==Examples== ===Strong Examples=== ====Super Mario Bros.==== In Super Mario Bros., the player is awarded score points for collecting coins, various powerups and defeating enemies. The number of points awarded is different for each of these. ====Tetris==== In Tetris, the players score increases whenever a horizontal line is formed. If more than one line is created simultaneously, the player is awarded additional points. ====Warcraft III==== In Warcraft III [Blizzard Entertainment, 2002] after each campaign level, skirmish, or multiplayer death match, a score window is shown, displaying the numerical values of aspects of the match, such as units lost, enemy units destroyed, enemy buildings destoyed, etc. ====Sonic the Hedgehog==== In Sonic, the player is awarded points for defeating enemies and collecting rings throughout the level. The player is also rewarded for completing the level in a short time. At the end of each level the score points are tallied and if the player has a high score, they will be rewarded with a continue or an extra life. ---- ==Game Ontology Relations== ===Parent=== *[[Goal Metrics]] ===Children=== None fda874fa26e6d8d31cb6cb1e079c31566c7ae227 0 171 171 2009-01-19T16:23:28Z Jp 0 Reverted edits by [[Special:Contributions/ZellaRacba|ZellaRacba]] ([[User talk:ZellaRacba|Talk]]); changed back to last version by [[User:Jp|Jp]] wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Games using a second person perspective provide an on-screen "you," an avatar which the player controls within the game world that is visible to the player through the game's view. Second-person Point of View tends to appear in games that focus player [[Single Entity Manipulation|control on a single entity]], which helps establish a sense of player identification with the entity where the perspective and manipulation are co-joined. '''See also''' [[Locus of Manipulation]], [[Single Entity Manipulation]] ==Examples== '''Strong example''' Super Mario Sunshine [Koizumi and Usui, 2002] provides a player avatar in the form of Mario, plucky plumber and (for this episode) cleaner of graffiti. The game provides the player with a view of the game world that follows Mario such that he is always on screen, typically in the center of the lower third of the screen. '''Strong example''' Baten Kaitos: Eternal Wings and the Lost Ocean is an example of second-person POV because the game is seen through the eyes of a spirit (the player) who accompanies the game's protagonist throughout his adventures. The spirit communicates with the protagonist, Kalas, and even has the chance to attack occasionally, but the player controls Kalas. Furthermore, the player sees the world through the eyes of the spirit and only knows what the spirit knows. ---- ==Parent== *[[Point Of View]] ---- ==Children== None ---- ====References==== Koizumi, Y. and Usui, K. (2002). Super Mario Sunshine. Nintendo, gamecube edition. 1a55da7d601f6d01279a3ce4156c9395bc0abf35 0 172 172 2009-08-15T15:27:55Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] ==Definition== ;The process of managing and regulating the development of gameplay experience through the design of a game.: Segmentation of gameplay describes how a game is broken down into smaller/shorter elements or chunks of gameplay. It is not something new or particular to videogames—e.g. consider a game of football (soccer), where the match is divided into forty-five-minute halves. Splitting the total duration of the game in two is an example of a way to segment gameplay. Another common form of gameplay segmentation is by coordinating players’ actions. For example, many board games force players to take turns, alternating periods of action and observation. In these cases, gameplay is segmented by forcing the players to coordinate their actions, so that individual players cannot affect the state of the game simultaneously. Videogames have greatly extended the varieties of segmentation, making the concept richer and more sophisticated. Specifically, videogames have introduced new vocabulary referring to gameplay segmentation. For example, words like level, boss, and wave refer to particular ways of segmenting gameplay that have become essential in describing and analyzing videogames. These terms, however, are also used informally, so that novel forms of segmentation are sometimes conflated under these general terms. ==Examples== ===Strong Examples=== ====Gitaroo Man==== Gitaroo Man is a rhythm game where the gameplay is broken into segments with the story. Each level has its own story and design where you battle a different boss. Given very much to a game of progression, you have no choice in how you progress and in failure you must redo the level, and with success you move further down the story line, where you learn more and must fight a more challenging boss. The segments in Gitaroo Man are well designed and implemented, as even though you have very little freedom in the game, you feel as though you are smoothly moving through the story. ====Golden Sun==== Role-Playing Games, like this one for GBA, are a great example of how different forms of segmentation can coexist in the same game. Following the model of classic RPGs, such as the ''Final Fantasy'' series, the most predominant form of segmentation in the game is by challenge In order to advance in the story of the game, you will find enemies that you will have to defeat in battle. These battles are turn-based – another form of segmentation –, which is inherited from paper-and-pencil RPGs. Some of the key items of the game will only be acquired after solving a puzzle, such as moving stones to the right fulcrum to open a door. These puzzles appear in the temples, where the items that are key to complete the game are found, thus segmenting the game in puzzle challenges as well. The milestones in the action of the game are marked by boss challenges. The bosses cannot be defeated until the characters of the game have enough experience points and power-up items, acquired in battles and by solving puzzles. Defeating a boss will grant the player characters more experience points, which will be necessary to defeat subsequent, more powerful, enemies. ====Metal Gear Solid==== In this game the Segmentation is very evident in the level design, as you complete specific objectives you advance further and further into the military base, moving from area to area, building to building, into radically different levels. Specific items and completion of puzzles allow you to move on to progress the storyline. Also getting into fights with enemies triggers a new segment of the game locking some doors and disabling radar and other features normally open to you. Also boss fights unlock new stages, and abilities for the player furthering the gameplay and storyline/ ====Civilization 4==== Sid Meir’s Civilization 4 is segmented by turns. During each turn the player decides what actions he wants to take, then the AI takes a turn for each of the enemy civilizations. Also, Civ 4 has 4 distinct time periods, or epochs, in which certain in-game bonuses stop working. For example, the player can build certain wonders of the world that give bonuses, however, the bonuses stop working in later epochs. ====Donkey Kong Country==== Donkey Kong Country for SNES has a strong sense of segmentation. The game takes place on an island where Donkey Kong and his pal, Diddy Kong, go and explore different regions of the island. This serves as a broad level of segmentation. Each region is then divided up into a series of levels with similar backgrounds and bad guys that tend to get harder as one progresses through the region. Much like the levels, the regions also tend to get more difficult as the game continues. This type of segmentation is useful to help the player get a grasp on how the game will progress. If the player of DK was just thrown into a series of 100 levels without segmentation, they would get confused, annoyed, or bored. ====Ragnarok Battle Offline==== This sidescrolling "beat 'em up" action game is segmented in various layers of complexity. The game has very distinct, differently themed stages (levels) by decontextualizing them to a certain extent while maintaining a certain sense of RPG and linear stage progression. In addition to the segmentation of the stages, every stage is segmented into anywhere from 3 to 9 Areas, each Area having it's own sense of visual and difficulty progression within the overall level, typically ending with a series of difficult enemies, mini-boss, or final boss (in the last area). Furthermore, each stage is segmented into a number of several seperate 'rooms,' allowing for visual/spatial segmentation within Areas, freeing up more resources for more visually complex and appealing areas, helping to progress the implicit storyline. ====Grand Theft Auto: San Andreas==== This game is segmented two-fold. Most notably, the "main game" requires the player to accomplish a number of different missions, and there are a number of "side quests" that a player has the option of completing. A few examples of these side quests are: The taxi missions, where the player drives citizens of the city around getting rewarded for speedy times. Another side quest is collecting various tokens around the game map. All of the side quests in this game reward the player with elements that make the main game either easier to accomplish (attaining more powerful weapons), or more fun to accomplish (flashy cars, unique out-fits). Another type of segmentation in this game is [[Spatial Segmentation|spatial]] because the game has distinct cities and neighborhoods the player can travel to. ====NBA 2K7==== This game has very clear segmentation as each game has quarters which last an equal amount of time. A quarter can have further segmentations within it such as time outs or foul shots. Half time is an extended break and players are given their stats and time to recollect themselves. The segmentation in sports games is essential to creating smooth gameplay and a realistic experience. ====Elebits==== ''Elebits'' for the Wii has game segmentation in levels with time limits and watt goals to reach, though this game is mostly free of structure during that gameplay. These segmentation goals are very specific, in that you must reach the watt goal within the given time limit to reach the next level of play. Within a level, however, limits are less strict, and segmentation only appears in the watt requirements to turn on certain appliances. ===Weak Examples=== ====Star Wars Galaxies==== Star Wars Galaxies is a weak example of segmentation of gameplay. If you play the game on a day-to-day basis you will not see too much variety. It is somewhat of a life simulator and there are tasks that you must complete every day in order to truly accomplish any certain stage of life. However, with a major update of the game from a developer, you have a huge change in gameplay and this segments the experience in one chunk of game time from the other. ====Starcraft==== In Starcraft's melee gameplay, a game can be divided into sections. The first section of the game is called the early game, around the first 5 minutes of the game, which consists of building up your economy and choosing what some of your first buildings will be. This section transitions into mid game, usually 5-20 minutes, between which is generally characterized by the expansion to other resource nodes and/or the build up of a larger army. Late game, 20 minutes till end, begins when most of the resources on the map are controlled and resources begin to become scarce. It is a weak example because the segmentation results from the availability of resources in the game and the speed in which these can be harvested/depleted. This pacing, is the result of that, although it isn't an explicit part of the design of the game. ====Prince of Persia: The Sands of Time==== In Prince of Persia: The Sands of Time, gameplay is only slightly segmented. There are distinctive areas, but they transition very smoothly to one another. There is no indication of completion or loading screen; one simply moves on to the next area. ==References== ''Golden Sun''. Camelot Ltd. Co. (2001) Nintendo: GBA ==Game Ontology Relations== ===Parent=== *[[Gameplay Rules]] ---- ===Children=== *[[Challenge Segmentation]] *[[Spatial Segmentation]] *[[Temporal Segmentation]] *[[Narrative Segmentation]] eed0aeaabc6135c46ecee0f611fb50ff4863afb3 0 173 173 2008-12-18T21:07:21Z Jp 0 2 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Games present themselves to the player through the senses. This presentation of the games world and rules can take place through multiple sensory channels or focus on only one. Note that were referring to the communication from game to player of the game world and rules, not the game world or rules themselves. The game world exists within the box so to say.. on the game console or the computer system. Through a visual, aural, and/or kinesthetic presentation, this gameworld and its current state are communicated to the player, who creates a mental map of the game world and rules in her own mind. Many modern electronic games use a primarily visual approach to presenting game information, supplemented by aural and tactile messages. ---- ====Parent==== *[[Presentation Software]] ---- ====Children==== *[[Aural Output]] *[[Tactile Output]] *[[Visual Output]] 771e4291b6916ec9542a31dac28d0ca87cdbd0fc 0 174 174 2008-12-18T21:07:21Z Jp 0 7 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Goals]] A Side-Quest, as its name implies, branches away from the central (or critical-path) goals of a game. It is usually presented to the player as a goal that the player may want to achieve, though it is usually clear that it is not central. Side-Quests are usually tied in some manner to the central narrative of the game. For example, a Side-Quest may be to perform a certain favour for a well-known character in the game. Thus, they are usually non-repeatable. ==Examples== ===Strong Example=== Most RPGs feature Side-Quests as a way to provide players with opportunities to diversify the abilities and belongings of the characters they are controlling. For example, in Baldurs Gate, the player is asked to save a lost kitten. If performed, the player is rewarded with gold and treasure that may not be otherwise available to him. ===Strong Example=== In Elder Scrolls: Oblivion, there are a large number of side-quests available throughout the game. In fact, the majority of the content in the game can be considered a side-quest. Throughout the game, the player consantly runs into quests that definetly not part of the main story line. This is a strong example because these quests can only be done one time and always generate some form of tangible reward for the player. In many cases, some kind of new 'hideout' is the end reward for a long side-quest. ===Weak Example=== In Grand Theft Auto, the player can commandeer certain vehicles such as an ambulance or a fire truck. When driving these vehicles the player can engage in a side-quest in which he is attempting to fulfill the role of the vehicle he is driving. For example, when driving the fire truck he can rush to locations where there are fires and attempt to extinguish them. The player is rewarded with cash for fulfilling these side quests. In addition, certain upgrades can be earned at certain levels, such as health and armor upgrades. This is considered a weak example, because the side quest is always available to the player as an option. It can be performed over and over again. Additionally, in the case of GTAIII, they are not integrated into the main narrative of the game. ===Weak Example=== In Fable for the X-box, the player encounters Traders who desire to be escorted to certain locations. The player receives reward (monetary [and positive noteriety?]) after accepting the mission and after escorting them alive to the desired location. Should the player decide to execute the Trader after accepting the initial accept-mission-reward, the player will receive negative noteriety points and gold. In both cases, the Trader will eventually respawn in the initial location and the player can repeat either process as many times as they desire. ---- ====Parent==== *[[Optional Goals]] ---- ====Children==== None 35d9e148fb9811de18880b50de7a9b63db9a2d17 0 175 175 2008-12-18T21:07:22Z Jp 0 10 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] The player controls a specific entity or avatar within the game. Any control the player exerts or actions he performs upon the game or its world take place through this embodied entity. In regards to this game element, the specific form or capabilities of this entity are less important than its function as an embodied point of contact between the player and the game. In fact, in some games, which game entity the player controls changes with time, outside the players control, like the players control over the pieces in Tetris (Pajitnov, 1986). Note that in such games, the player continues to directly control only one entity within the game at a time. The method for controlling this entity can vary, some games providing controls that map directly to the entitys actions, some providing more indirect controls, such a system of menus, palette of on-screen buttons, or a language for constructing commands. Games that use indirect controls such as menu systems shed some light on an important distinction between cursors and game entities. A game entity is an embodied something that exists within the games world. Other entities within the game can interact with that player controlled entity. A cursor exists outside the game world, without a body in that entities within the game cannot act upon a cursor. A cursor cannot be attacked or removed from the game due to damage, nor does a cursor act upon any game entity except to select it, allowing the player to then use game commands upon that entity, often by clicking on that command within a menu interface with the same cursor used to select the entity. '''See also''' [[Control Mapping]], [[Direct Mapping Of Player Input]], [[Indirect Mapping Of Player input]] ==Examples== ===Strong example=== ====Sonic the Hedgehog==== In Sonic the Hedgehog [Yasuhara, 1991], the player controls Sonic as he runs through levels filled with platforms, ramps, rings, and other items. Through Sonic, the player can perform actions on these objects. He can collect rings, remove enemy game entities, and activate bumpers. In this way, the player's power to influence the game world centers in Sonic and his representation in the game. He cannot directly control other entities within the game. He must perform any actions in the game world through Sonic. ====The Legend of Zelda: The Wind Waker==== In The Legend of Zelda: The Wind Waker [Aonuma, 2002], the player controls Link, guiding him about the game's world on a great adventure. The player's power to influence the game world centers in Link and his representation in the game. The game world is filled with other entities that the player cannot directly control, but some of which he can control through Link. For example, Link can move boxes around in the world by pulling them, changing their location. This results in the player having the ability to move boxes within the game, but only through Link. The player cannot manipulate the boxes directly on his own. ====Angband==== Angband is a freeware computer dungeon exploration game based (loosely) on the books of J.R.R.Tolkien. You explore a very deep dungeon, kill monsters, try to equip yourself with the best weapons and armor you can find, and finally face Morgoth - "The Dark Enemy" [Ben Harrison & Robert Ruhlmann]. ====Sim Meier's Pirates!==== The vast majority of gameplay in Sid Meier's Pirates! [Meier 2005] revolves around control of a single avatar, although it should be noted that the avatar can change based on the actions being performed. When talking to non-playable characters and engaging in duels, the player is in control of the pirate protagonist. When sailing on the Caribbean and engaging other ships, the player is directly controlling a ship. Although the player can have a fleet of up to eight ships, only the ship designated as the flagship is directly controlled (the other ships simply follow). The only time when the player controls more than a single entity is during land battles, in which the player controls the entire pirate crew under turn-based combat. ===Weak example=== ====Tetris==== In Tetris [Pajitnov, 1986], the player controls one tetrad on the game board at any given time, the tetrad in play being determined by the game software. After placing a tetrad, the player gets control over another tetrad, again chosen by the game. Using the tetrad under his control, the player can influence other tetrads by completing rows and removing those rows from play, but cannot directly control any tetrad that has already been placed. ====Black & White==== Black & White [Molyneux, 2001] presents the game in a first person god perspective that can be difficult to distinguish from the cursor interface used in many real-time strategy games. In many respects, the game's view resembles the view provided in an RTS, but the player's divine hand has properties beyond those of a simple cursor. It acts as a part of an implied, off-screen body whose eyes we are looking through. The hand is used to interact with game entities as a hand rather than as a cursor. For example, rather than simply selecting entities and telling them to move, players use the hand to pick them up, then put them down or throw them. The hand is also used within the game to reward or discipline one's creature, a special learning game entity, by petting it, slapping it, or handing it objects. Black and White's movement mechanics also reinforce the sense of embodiment by having players move themselves about the world by grasping hold of the landscape and pulling their implied divine mass through the game space rather than using a standard scrolling interface. ---- ==Parent== *[[Locus of Manipulation]] ---- ==Children== None ---- ==References== Aonuma, E. (2002). The Legend of Zelda: The Wind Waker. Nintendo, gamecube edition. Harrison, B. Angband. http://www.phial.com/angband/ Meier, S. (2005). Sid Meier's Pirates!. Firaxis Games. Molyneux, P. (2001). Black & White. Electronic Arts, windows edition. Pajitnov, A. (1986). Tetris. Dos edition. Ruhlman, R. Angband. http://www.thangorodrim.net/ Yasuhara, H. (1991). Sonic the Hedgehog. Sega, genesis edition. cdcbbdcf42e81fe6b22c6f9bf2adec6b18f98c68 0 176 176 2008-12-18T21:07:22Z Jp 0 2 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] In terms of pseudo-physical rules, solidity is explained as the intent to convey the fact that entities in a gameworld have mass and take up space. It applies to games in which two entities cannot occupy the same space at the same time. This is commonly evidenced when a player controlled entity is not allowed to walk through walls. ---- ====Parent==== *[[Pseudo-Physical Rules]] ---- ====Children==== None 2a1de79a3b3763df3c40b5554ca3854ace51c058 0 177 177 2008-12-18T21:07:22Z Jp 0 3 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] ==Definition== ;The boundary between juxtaposed sublocations of the gameplay space. Crossing this boundary must make a difference in the gameplay, or else it is not a spatial checkpoint.: Spatial checkpoints divide a space into sublocations that follow one another continuously (in contrast to the discreteness witnessed in levels), being the boundaries between these sublocations. In order to be considered a form of spatial segmentation, there must be differences that impact gameplay when the player moves from one sublocation to the next, otherwise there would not be any segmentation. Some examples of affecting gameplay in this way include not allowing the player to move back to a previous sublocation once a spatial checkpoint has been reached, resetting/modifying some game variables – such as the amount of time the player has to reach the next sublocation –, awarding bonus points, or resuming the game from the spatial checkpoint last cleared before losing a life. Finally, the player must also be aware he has made this transition from one sublocation to another in order to consider a spatial subdivision a checkpoint. Games with gameworlds larger than the screen, and which scroll continuously when the player moves, do not usually feature spatial checkpoints unless some of the conditions above are met. Some of the questions that can help identify a Spatial Checkpoint would be: *are there any markers of the change of sublocation (e.g. a checkpoint, change of music or a sign that announces the new location)? *Can the player go back after reaching the spatial checkpoint? *Are there any changes in the gameplay after crossing the spatial checkpoint? *Are counters / stats reset after going through the spatial checkpoint? Answering yes to these questions reinforces the notion of an instantiated spatial checkpoint. ==Examples== ====Strong Example==== ''Moon Patrol'' Each level of Moon Patrol is subdivided using spatial checkpoints. Each checkpoint represents a different challenge, in terms of enemies and obstacles, and they mark an additional checkpoint in the player’s progress. If the player loses a life between checkpoints, he would not have to restart the course, but automatically resumes playing from the last checkpoint reached. These subdivisions are not considered levels, since the player moves continuously from one to the next with no pause in gameplay; undefeated enemies from the one subsection can also follow the player into the next. ====Strong Example==== ''Sonic The Hedgehog 3'' This game uses both checkpoints and spatial checkpoints. In each level, around half-way through, there is a spatial checkpoint. After this point is reached, either the space changes (e.g. the world is put of fire by the boss), or the new area is separated from the previous (e.g. via a tunnel, or chasm). After these spatial checkpoints, there is really no point in going back, since you’re supposed to have picked up all the rings on your way, and the aim is to finish each level as soon as possible. This is reinforced by the concurrence of checkpoints, the lollipop-like markers that the player activates, so that when she dies, the player character will start in the checkpoint rather than at the beginning of the game. ====Strong Example==== ''Diablo II'' In Diablo II: Lord of Destruction for the PC, the world is spacially segmented. It is divided into zones of increasing difficulty. Messages, music, and sometimes recovery emerge during a transition between zones. The existance of "waypoints" in zones are a form of spatial checkpoint. These help to save progress throughout the world, by giving the player access to previously discovered zones. ====Weak Example==== ''Spy Hunter'' If you die within a certain time limit, a truck will bring a new car, letting you start from the point that you just crashed. If the initial time limit has expired, and you crash, your game is over (there are no lives in the game). ==Relations with other elements of the Ontology== ====Parent==== [[Spatial Segmentation]] ==References== ''Sonic The Hedgehog 3''. Sega (1994) Sega: Sega Genesis ''Spy Hunter''. Midway (1983) Bally Midway: Arcade a79dfa89ceba031b6433ecdb7505be1e9c88bc74 0 178 178 2009-05-22T12:35:13Z Jp 0 Reverted edits by [[Special:Contributions/BaspaSdron|BaspaSdron]] ([[User talk:BaspaSdron|Talk]]); changed back to last version by [[User:Jp|Jp]] wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] ==Definition== ;The division of the gameworld into different spaces, when this division also partitions gameplay.: Spatial segmentation results from the division of the gameworld into different spaces when this division also partitions gameplay. In these cases the gameworld is not presented as a continuous whole, but rather as distinct subspaces that are navigated separately, and may even have their own special rules. Each subspace may be larger than what can be displayed on the screen; what matters is whether they are distinguished as separate locations, as well as whether there are gameplay restrictions or differences between each location. In referencing a strong sense of spatial segmentation, it is important that the player perceives that he is participating in a virtual space larger than its onscreen representation, and that this space is traversed in parts. A series of disconnected screens that bear no sense of relationship could be considered an example of spatial segmentation, albeit a weak one. The affordances of technology allow spatial segmentation to be common in videogames, and rare – if at all existent – in non-videogames. Computers can efficiently and cheaply store the data needed to represent expansive virtual worlds, as well as generate gameworlds procedurally (Murray). Storing the information needed to represent large worlds, as well as the different rules for each segment, is relatively easy for computers. On the other hand, the spatial aspects of non-videogames are usually hampered by the limitations of actual physical space. Consider the problems of building a boardgame with 40 separate square boards, each having an area of one square meter, or a basketball court 20 kilometers in length. ==Examples== ===Strong Examples=== ====Yoshi’s Island: Super Mario Advance 3==== In Yoshi’s island, there are six so-called “worlds”, which contain eight levels each. Each level is thematically distinct from the other, not only in the representation, but also in the type of enemies you have to face – some levels will only have shy guys as your enemies, others they’ll be crammed with Koopas, or there will be Piranha Plants; castle levels will be haunted by boos (ghosts), and will also have some sections with lava. The configuration of the level can also change—from straightforward plataforming, to racing against big boulders, to moving plataforms that spin with or without your weight. Even though the props and entities may repeat from level to level, their combination and the configuration of the space make each level distinct from the others. The sense of level is reinforced by the existence of a menu screen that shows which levels the player has completed, and offers the possibility of going back to those levels and playing them again. This menu offers a map where the player can see the continuity of the gameworld, and how each level relates to the other –in which world it is contained, and which other levels precede and follow it. The player goes back to this menu screen whenever she finishes a level, increasing the sense of independence between the levels. ====Rogue==== In Rogue, the player is an adventurer who is exploring a dungeon in search of wealth, power, etc. The entire dungeon corresponds to the gameworld, however the player explores the dungeon one floor at a time. On each floor he may find a staircase that leads him deeper and deeper into the dungeon. In this case, the gameworld has been segmented according to the level of depth within the dungeon. In other words, each floor is a segment of the entire gameworld. ====Final Fantasy VI==== Final Fantasy VI has spatial segmentation in two ways. The first is the way in which there is a large overworld map, consisting of various continents and areas of terrain, as well as towns and caves that can be entered. Each of these areas have different backgrounds, music, enemies to fight, and scenes which continue the storyline. Some areas can only be accessed during certain parts of the game, or by fulfilling certain requirements such as having an airship. The second type of spatial segmentation in FF6 is the change from one "world" to another. The first half of the game happens in the World of Balance. But after the scenario on the Floating Continent has finished, the next time the player has control is in the World of Ruin, which has distinctly different geographical makeup, background music, and visual presentation from the World of Balance. This spatial segmentation represents an entirely different stage of the game; once the player has reached the World of Ruin, they cannot return to the World of Balance or do anything within that landscape. The player is then effectively forced into the second half of the game by being put into a completely restructured world. ====Chrono Trigger==== Chrono Trigger presents spatial segmentation in the multiple worlds the player must navigate the characters through. In this game, the multiple worlds are represented through the differant time periods the characters travel to either through time portals or time travel ship. Each respective world has its own type of environment, enemies, and items. The premise of the game itself requires the player to travel to the various worlds to complete various missions that tie up the narrative as a whole. Chrono Trigger also presents spatial segmentation through the two differant game areas of the world map and a specific area. In the world map, the player can only move to the differant areas stationed throughout the world map. Within a given area, a player takes the characters to actually face enemies, talk to other computer-operated characters, buy items, and progress through the narrative. ===Weak Examples=== ====XIII==== XIII is a FPS for PC, with a visual style similar to that of a comic book (cel-shading). It uses the same break points as comic books, relying on narrative segmentation to break up the story into levels and spatial segmentation to separate different missions. ====Burger Time==== In this classic arcade game, the player has to make the ingredients to make burgers drop to the bottom, avoiding the enemy sausages and fried eggs on the way. This game is a platformer, where the player climbs up and down ladders—every level presents a different configuration of platforms, ladders, and ingredients. However, there is not a strong spatial relationship between every level; the player does not have the impression that she’s progressing from one space to the next, but rather that it’s the same space and the different elements have been re-arranged. This is why we could consider ''Burger Time'' a weak example of spatial segmentation. ====Unreal Tournament==== Unreal tournament is a first person shooter originally for PC. The player must kill all enemies, amassing a certain amount of kills, before progressing to the next level. The game is divided up into different levels and thus spatially segmented, but the enemies and gameplay remain mostly unchanged from level to level. ==Relations with other elements of the Ontology== ====Parents==== *[[Segmentation of Gameplay]] ====Children==== *[[Level]] *[[Spatial Checkpoint]] *[[World]] (out of date entry) ==References== Murray, Janet H. ''Hamlet on the Holodeck: The Future of Narrative in Cyberspace''. New York: The Free Press, 1997. ''Yoshi’s Island: Super Mario Advance 3''. Nintendo (2002) Nintendo: GBA (also SNES 1995) ''Burger Time''. Midway (1982) Bally Midway: Arcade. 8173955a5184d84fea9e2ca41c795e9a14ae0cfa 0 179 179 2008-12-18T21:07:25Z Jp 0 21 revision(s) wikitext text/x-wiki {{outofdate}} [[Category:Ontology]][[Category:Rules]] Spawn points are specific (non random and predetermined) places where game entities appear. Generally, spawn points are the places from which enemy entities will appear. Sometimes, though, it is used to have player controlled entities appear. There are many different ways in which spawn points are implemented. Some are represented visually to the player, while others are invisible. Some operate all the time, constantly generating entities, while others are triggered only when certain conditions are met. Some conditions include proximity of a player controlled entity (spawn when the player controlled entity moves within a certain distance of the spawn point), removal of non-player entities (for example, respawn the entity when it is removed) ==Examples== ===Strong Example=== ====Battlefield:2142==== If the health of a player reaches zero he is then said to have been "killed". A timer is then displayed in the center of the screen which, upon reaching zero allows the player to spawn (instant generation of the player controlled entity) his character at a spawnpoint on the map display. Spawnpoints are a key element to the game play of Battlefield. A major goal in the game is to capture and hold spawnpoints, restricting the ability of the opposing team to reinforce. If your team is in possession of one of these capture points you can spawn your character there until it becomes captured by the opposition, then the opposing team can make use of it as a spawn point. The more spawnpoints held by your team the faster your team can react to the enemy force as you are given more selection in where you wish to deploy. This allows you to spawn as close to the enemy as possible, minimizing time wasted in reaching a destination (your opponent). ---- ====Parent==== *[[Gameworld Rules]] ---- ====Children==== None ae4112c73ff1e70eb19473fac64cbaed89eb8244 0 180 180 2008-12-18T21:07:25Z Jp 0 2 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Some games provide players an array of special weapons to use, but only allow one to be used at any given time. In games that use this mechanic, there is commonly a section of the head up display devoted to a representation of the special weapon the player has currently equipped. '''Strong example''' Given the importance of effectively using special weapons in Ratchet and Clank [Allgier, 2002], the designers devote the lower left corner of the screen to an indication of Ratchet's current special weapon and how much ammunition it has remaining. ---- ====Part-Of==== *[[Head Up Display]] ---- ====References==== Allgier, B. (2002). Ratchet and Clank. Sony Computer Entertainment America, playstation 2 edition. 30a40fc8bed5ad639a4c0d2f11fe5c4447cf932d 0 181 262 181 2015-07-27T23:25:03Z Jzagal 2 wikitext text/x-wiki {{Proposal}} [[Category:Proposal]] [[Category:Ontology]][[Category:Interface]] Stylus Pens are pen-shaped input devices, usually made of plastic, used to make pressure on a touch-sensitive screen, usually when a finer, more precise input is required, in which case the use of the player's fingers wouldn't be satisfactory. ==Examples== ====Strong example==== In Namco's game Pac-Pix [Namco, 2005], for Nintendo DS, the player makes use of a Stylus Pen to draw shapes that will be recognised and animated accordingly as elements within the game. ==Relations with other elements of the Ontology== ====Parent==== *[[Touch-Sensitive Screen]] ====Children==== None ==References== Namco, developer (2005). Pac-Pix. Namco, Nintendo DS edition. f2ac4bdc731f7ce4614e3bd46e6878f11b4b3f12 181 2009-08-15T15:27:38Z Jp 0 wikitext text/x-wiki {{Proposal}} [[Category:Ontology]][[Category:Interface]] Stylus Pens are pen-shaped input devices, usually made of plastic, used to make pressure on a touch-sensitive screen, usually when a finer, more precise input is required, in which case the use of the player's fingers wouldn't be satisfactory. ==Examples== ====Strong example==== In Namco's game Pac-Pix [Namco, 2005], for Nintendo DS, the player makes use of a Stylus Pen to draw shapes that will be recognised and animated accordingly as elements within the game. ==Relations with other elements of the Ontology== ====Parent==== *[[Touch-Sensitive Screen]] ====Children==== None ==References== Namco, developer (2005). Pac-Pix. Namco, Nintendo DS edition. 972d2048e5caa6c61b988c87a49fe8ae442ca42f 0 182 182 2008-12-18T21:07:27Z Jp 0 18 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Goals]] Many games assign a success level to the player depending on his or her performance in the game. The success level is usually independent on whether or not the game was won or finished. In the case of winning, it indicates how good a victory was obtained. For example, was the victory near-perfect or barely enough? This is analogous for the case of losing. Games use many different ways to assign a success level. For example, success level can be represented as a fraction or percentage of the sub-goals that where completed. When finishing a certain level the player may be informed that he eliminated 38/42 of the enemies present, or found 52% of the secrets. The success level can also be used to indicate degree of completion. In this case, a higher degree of completion is an indicator of greater success. If a player has completed 90% of a game, it is clear that he has both performed rather well and is close to finished the game. ==Examples== ===Strong Examples=== ====Advance Wars (GBA)==== In Advance Wars (GBA), each time a player finishes a level he is awarded a letter rank to indicate his level of success. The highest level is an S-Rank, and the player can also be awarded an A, B, C or D rank. (there may be other ranks that I am not aware of) The player's rank is dependent on three factors: speed, technique, and power. Speed is an indicator of how many turns it took the player to finish a level. Technique measures how many units the player lost in comparison to how many he destroyed. Power, measures how many enemy units were destroyed. These three indicators, taken together, determine the rank awarded to the player. ====Doom==== In Doom, at the end of each level the player is shown a screen that displays his success level for that particular level. The screen displays, amongst other things, the time it took to finish the level, the fraction of secret areas found and the fraction of enemies defeated. ====Super Mario World==== In Super Mario World, the percent of the levels the player has defeated is displayed. It is possible to beat the game without clearing all the levels, with the minimum levels required for clearing being 11 (not counting Bowser's castle itself). Incidentally, 101% is the top end of the percent-cleared scale. ====Chrono Trigger==== In Chrono Trigger, there are multiple endings based on how early in the plot you defeat the final boss. The worst ending occurs when you are defeated by Lavos, the regular ending occurs when you defeat Lavos at the regular end of the game, and the best ending occurs when you either defeat Lavos at the beginning of a "New Game+" alone or when you beat the powered-up version of Lavos at the end of the Ocean Palace dungeon. There are 15 different endings possible, with each one being the equivalent of a sucess level. ====Splinter Cell: Double Agent==== In Splinter Cell: Double Agent, after you successfully complete a mission it assigns you a percent value displaying how stealthy you were during the course of the mission. For example, the more bodies found by enemies, alerts, or kills, the lower your percent ratings is. ===Weak Example=== ====Silent Hill==== The game Silent Hill has multiple endings that are a reflection of the players success in the game. When the player reaches the end of the game, he is shown of the endings depending on a series of factors that are not necessarily evident to the player. (ie, they are not public knowledge). In fact, for many, some of the multiple endings are considered "secret" or "special" in that the player has to perform certain special tasks in order for them to be seen. This is a weak example because while there is an implicit evaluation of the players success at the game, the player has no means of mapping that evaluation to in-game actions. In fact, the player is usually not aware of the existence of other, alternative, endings and what you have to do in order to see them. ==Game Ontology Relations== ===Parent=== *[[Goal Metrics]] ===Children=== None b5d9b4133ae02b63285cf6a4fec5a2ae7d15a161 0 183 263 183 2015-07-27T23:25:34Z Jzagal 2 wikitext text/x-wiki {{Proposal}} [[Category:Proposal]] [[Category:Ontology]][[Category:Interface]] ==Definition== ;The player must press a series of buttons according to some (usually) visual indication. The button presses do not directly control any entity or group of entities in the game. Dance Dance Revolution, and most other rhythm and action games, are good examples of this. However, the issue of direct/indirect manipulation is an important discriminator. For example, the dance game Space Channel 5 requires the player to press buttons at appropriate moments, however, the button presses map directly to the dance moves executed by the main character Ulala (another example can be seen in Bust-A-Move, known in the West as Bust-A-Groove). In this case, we would not say that Space Channel 5 is an example of Synchronized Button Press since the player is directly controlling the choreography of the main character. Games whose [[Cardinality of Gameplay|cardinality of gameplay]] is [[0-Dimension Gameplay|0-Dimensional]], tend to favour this form of entity manipulation. List of questions: *Are the synchronized button presses an indirect form of manipulation? ** Do the buttons being pressed directly control the movement or manipulation of any in-game entities? *Is the [[Cardinality of Gameplay|cardinality of gameplay]] [[0-Dimension Gameplay|0-Dimensional]]? *Does the player only have one "correct" action? (ie, press the button at the right time) ==Examples== ===Strong Examples=== ====Dance Dance Revolution==== In Dance Dance Revolution (DDR), the player must press different combinations of four buttons in synchronization with groups of arrows that move up the screen. When an arrow overlaps a special marker at the top of the screen, the appropriate button must be pressed. (for example, up-arrow corresponds to up-button). The player doesn't directly control any entities in the game. ====Guitar Hero==== In Guitar Hero [RedOctane, 2005], the player uses a guitar-shaped controller to simulate playing a guitar. The player must press down buttons on the controller's fret board while simultaneously strumming the "strum bar" at the correct time for the music to play. If the player strums at the wrong time, or presses the wrong note, the music sounds bad and the player is penalized. ====Fahrenheit (Indigo Prophecy)==== In some sequences in Fahrenheit (aka Indigo Prophecy), two circles with four different colored elements appear on the screen (like in a Simon game) and the player needs to press the buttons corresponding to the flashing sections. The input doesn't have anything to do with the avatar here. ====Shenmue==== In Shenmue, there are certain moments in the game where the player has to perform "quick time events" (QTE) in which the player is required to press a certain button (or combination) within a certain period of time. The player is cued to the required button presses by a flashing symbol on the screen. These QTEs require a quick reaction time from the player who is not aware when they will be triggered. In this sense they are not quite the same as a synchronized button press. Additionally, the button presses often result in the main character performing some sort of action. While the players button presses do result in certain actions being performed by the avatar, due to the fact that the player is not aware of what Ryu's actions will be , it is arguable that the player is not really controlling Ryu during these events. (also, the actions are different according to the particular event). This example was debated in the [[Talk:Synchronized Button Press|discussion page]]. ==Relations with other elements of the Ontology== ===Parent=== *[[Indirect Manipulation]] ===Children=== *None ==References== 7756716527a52f33855c21f968767e0ae6d5b4ba 183 2008-12-18T21:21:52Z Jp 0 wikitext text/x-wiki {{Proposal}}[[Category:Ontology]][[Category:Interface]] ==Definition== ;The player must press a series of buttons according to some (usually) visual indication. The button presses do not directly control any entity or group of entities in the game. Dance Dance Revolution, and most other rhythm and action games, are good examples of this. However, the issue of direct/indirect manipulation is an important discriminator. For example, the dance game Space Channel 5 requires the player to press buttons at appropriate moments, however, the button presses map directly to the dance moves executed by the main character Ulala (another example can be seen in Bust-A-Move, known in the West as Bust-A-Groove). In this case, we would not say that Space Channel 5 is an example of Synchronized Button Press since the player is directly controlling the choreography of the main character. Games whose [[Cardinality of Gameplay|cardinality of gameplay]] is [[0-Dimension Gameplay|0-Dimensional]], tend to favour this form of entity manipulation. List of questions: *Are the synchronized button presses an indirect form of manipulation? ** Do the buttons being pressed directly control the movement or manipulation of any in-game entities? *Is the [[Cardinality of Gameplay|cardinality of gameplay]] [[0-Dimension Gameplay|0-Dimensional]]? *Does the player only have one "correct" action? (ie, press the button at the right time) ==Examples== ===Strong Examples=== ====Dance Dance Revolution==== In Dance Dance Revolution (DDR), the player must press different combinations of four buttons in synchronization with groups of arrows that move up the screen. When an arrow overlaps a special marker at the top of the screen, the appropriate button must be pressed. (for example, up-arrow corresponds to up-button). The player doesn't directly control any entities in the game. ====Guitar Hero==== In Guitar Hero [RedOctane, 2005], the player uses a guitar-shaped controller to simulate playing a guitar. The player must press down buttons on the controller's fret board while simultaneously strumming the "strum bar" at the correct time for the music to play. If the player strums at the wrong time, or presses the wrong note, the music sounds bad and the player is penalized. ====Fahrenheit (Indigo Prophecy)==== In some sequences in Fahrenheit (aka Indigo Prophecy), two circles with four different colored elements appear on the screen (like in a Simon game) and the player needs to press the buttons corresponding to the flashing sections. The input doesn't have anything to do with the avatar here. ====Shenmue==== In Shenmue, there are certain moments in the game where the player has to perform "quick time events" (QTE) in which the player is required to press a certain button (or combination) within a certain period of time. The player is cued to the required button presses by a flashing symbol on the screen. These QTEs require a quick reaction time from the player who is not aware when they will be triggered. In this sense they are not quite the same as a synchronized button press. Additionally, the button presses often result in the main character performing some sort of action. While the players button presses do result in certain actions being performed by the avatar, due to the fact that the player is not aware of what Ryu's actions will be , it is arguable that the player is not really controlling Ryu during these events. (also, the actions are different according to the particular event). This example was debated in the [[Talk:Synchronized Button Press|discussion page]]. ==Relations with other elements of the Ontology== ===Parent=== *[[Indirect Manipulation]] ===Children=== *None ==References== e0917b893caa675a498f2d9ec8726d15313b2faf 0 64 64 2008-12-18T20:47:47Z Jp 0 4 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] As suggested in the section on tactile output hardware, tactile output can take a number of forms. Current electronic games tend to favor causing players' joypads to rumble or shake.These often underline activities in the game at a low level, for example rumbling while a player controlled entity is near an explosion. Another popular form of tactile output is force feedback through a steering wheel while taking sharp turns in racing games, or similar feedback to reflect difficult turning or being struck in flight combat simulators. Gun kick is another popular form of tactile feedback, adding a sense of haptic realism to games such as Time Crisis [Namco, 1996]. Other forms of tactile feedback have become available that are less directly tied to player controlled game entities or actions, such as the vibratory actions of the Rez Trance Vibrator, which provides tactile feedback that mirrors the game's background music. ---- ====Parent==== *[[Sensory Output]] ---- ====Children==== None ---- ====References==== Namco, developer (1996). Time Crisis. Namco, arcade edition. 5528fac4c65ed702e357f358824147ef8bb6d345 0 65 65 2009-08-19T22:16:28Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] There are games in which players agency is limited so that only one player (or agent) may perform activities in the game at a given moment. Once this player or agent has performed his activities or some other condition is met (for example, a time limit has expired) another player or agent may perform activities in the game. We note that there are games in which other players are allowed to have certain, strictly restricted, actions in the game while it is another players turn. These actions are usually reactive in nature (that is, in response to the player whose turn it is) and should not be construed as contradictory with taking turns. Some examples of these situations include games in which one player requests another player to make a decision (such as accepting a trade offer), military units that are allowed to strike back at their attackers, certain powers that allow brief interruptions of a turn, etc. There are many different ways to implement turn-taking. For example, the order in which turns may be taken can be random, pre-determined or change continuously as the game is played. Other variations include limiting the length of a turn to a certain amount of time, limiting the number of actions or allowing the player to decide when he or she wants to end his or her turn. ==Examples== ===Strong Examples=== ====Baten Kaitos: Eternal Wings and the Lost Ocean==== Baten Kaitos: Eternal Wings and the Lost Ocean demonstrates a strong example of taking turns. The player gets control of three characters at most. During battle, you have a deck of cards that determine which moves you want to make. You can heal or attack during your turn. Your turn ends when you run out of time, pick the maximum number of cards, or run out of cards. When your turn ends, another ally may go or an enemy may attack. When the enemy attacks, you get a defense turn. You can block the enemy's attacks with defense cards and this turn ends when the enemy stops attacking. ====Advance Wars==== In the Gameboy Advance game Advance Wars the player controls an army for a certain coalition. The player has unlimited time to move his units, attack other units, etc. The player must specifically choose to end his turn and thus allow the next player to play. Turn-taking is sequential and predetermined. ====Disgaea==== In the PS2 game Disgaea, the player controls a team of characters. The player as unlimited time to have his units move, attack, enter and leave the battle, etc. If a players character attacks another, the defending character (if it survived the initial attack) is allowed an automatic retaliatory strike. Turn-taking is sequential and predetermined. ====Chrono Trigger==== In Chrono Trigger the player has the ability to save a character's turn until more characters are ready to act. This will unlock a special ability enabling all characters to act at once, combine, and unleash a more powerful attack or healing ability. ====Fallout 2==== Fallout 2 is a strong example of turn-based play. In combat, each character (the PC, NPCs, and enemies) performs an initiative role to determine the order of action. Every action taken by a character requires a certain number of "action points" to perform such as taking steps, reloading, using health packs, or shooting an enemy. Each character has a certain number of action points to spend each turn, based on a variety of statistics and other factors. During the course of the game, the character can earn more action points, and therefore might be able to perhaps shoot twice in one turn. After a player uses all his action points, his turn is over, and the other player begins his/her turn. ====Magic: The Gathering==== Magic: The Gathering demonstrates an interesting turn-based structure; it is prominent in that game play revolves around turns, but flexible enough that it allows for interesting interplay between players out of turn, though under controlled conditions. In essence, a player takes the majority of his or her actions on his or her turn, but retains a very limited ability to act out of turn. ====Civilization 4==== The game itself in comparison to other real-time strategy, is in itself a turn-based strategy game. Although, in the later Civilization games, turns occur simulatenously, there's always one player action preceding another player action. For example, let's say one player decides he needs to bolster his defenses within a town that has little defenses and is soon going to be under attack by an enemy player. If he does not react quickly enouch, the enemy player will take his turn and attack the weakened city. By the time his reinforcements come in, the reinforcements may actually now be fighting his enemies in their captured city. The round doesn't end until everyone takes and ends their turn, so theoretically, you can take as long as you want producing units, creating buildings, moving your units, etc, but it is generally a good idea to be quick to react to any dangers you may be facing at the time. ====Heroes of Might and Magic 3==== This MacOS9/Windows 2000 platform computer game is a turn based strategy game. You choose a race and you have a castle(s) where you can build one building a day, creatures replenish at dwellings every week, and you get a daily income of resources. Each "day" in the game is one turn. Only one player goes at a time and the players go before the computer AI's (which are exceptionally advanced for how old the game is). Each hero you have has a movement amount based on his stats and the combat speeds of the creatures in his army. During that movement you can attack creatures and then have a turn based combat on a hex grid map based on the terrain. The game is a shining example of a turn based game and it is really logic based. ===Weak Examples=== ====Baldur's Gate 2: Shadows of Amn==== The battle gameplay within BG:2 is not structured in a turn-based style on the surface. At first glance, the combat seems real time. However because it is based on Dungeons and Dragons v2.0 the battles are all broken up into "rounds" at a deeper level of the game. You can, in fact, set the game to auto-pause at the completion of each round, or at the end of each characters turn within a round even, to allow you to react faster than if you just left the game real time. This allows you to streamline easier battles, whilst giving you the control to micromanage well enough to do well in harder ones. ====Final Fantasy XII==== A primary difference between this Final Fantasy and most RPGs including all other Final Fantasies to date is that this battle system is in real time. Fortunately there are no more turns based attacks between you the player and your opposing foes. Rather, there is merely only a wait time, and this doesn't correlate with a turn based battle system at all. You have the ability to attack multiple times before an enemy can even attack once. ====Last Blade 2==== The game itself is a fighting game which by all accounts is done in real time. You don't necessarily take turns. Rather the idea of "taking turns" is by setting the pace of the action. Last Blade 2 offers a variety of methods in order to give control over the situation such as deflecting attacks and speed combos, which, unless you're familiar with your character and your enemy's character, you will lose control of the situation and will be beaten. You maintain control by utilizing your character's special abilities to keep your opponents at bay or to keep the action close. Once you lose control, unless you make an effort to get it back, you will lose the game. ====Super Mario Bros.==== Super Mario Bros. allows two-players to play independent games of Super Mario Bros. One player gets to control Mario while the other plays Luigi. There is no interaction between each player. Whenever one player loses a life, it becomes the other players turn to resume his game. This mode of play is commonly known as hot-seat multiplayer. It is a weak example because, despite the fact that the players take turns at playing the game, they are playing completely independent games. ====Metal Gear Solid 3: Snake Eater==== Players are able to take turns in this game by talking turns when a boss is defeated. This may take some time to reach and defeat a boss so each player gets suffiecient time to play and short turns are eliminated. This allows players the option to take a long turn. ====Mario and Luigi: Superstar Saga==== Mario and Luigi: Superstar Saga is a weak example of taking turns. In the combat system the player takes turns with the enemies in performing attacks. However, the player can also dodge attacks when he is being attacked by an enemy. In some sense, it holds quality of taking turns as the player must play an attack or play defense. ====Mario Party 3==== Mario Party 3 is a good example of taking turns because during the board game part of this game, each player must wait for the others to complete their roll and pick the direction in which to move their character. The mini games do not fit into the turn based style, but for the board movement, Mario Party 3 is a fairly decent example of turn based game. Waiting for your turn does slow the game down and loses some peoples attention. ====Mega Man Battle Network==== In the MMBN series, combat is divided played out in quasi-turns of real-time action. Battle chips, essentially treated as attacks that you can use until the next turn, are selected at the beginning of each 'turn'. Then, you enter a segment of real-time combat during which you actively engage the enemy. During the real-time part, the 'Custom Gauge' slowly fills up; when this gauge is full, you are can bring up the Battle Chip selection menu to select more chips, but can wait as long as you like before oepning the menu. In this way, there is a sense of turns for Battle Chip selection, but its acts as a variable segment within the real-time combat. ===Jet Force Gemini=== In Jet Force Gemini, you have three characters with their own special abilities that must roam about specific worlds to complete their objectives. There are many places that only one character can get to, making it necessary to switch characters. But apart from one ability that sets each character apart, they are all basically the same and can get through most of the game themselves, making this a weak example of taking turns. ==Relations with other elements of the Ontology== ====Parent==== *[[Temporal Coordination]] ====Children==== *[[Passing]] 8bca34e84cf0ab55d9afec420303770bfd09c1e2 0 66 66 2008-12-18T20:47:49Z Jp 0 2 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] The camera follows the player's avatar or other game entity, either residing within the avatar/entity, or following it from an external perspective. Cameras residing within a player avatar are frequently used in first person shooters, the camera looking out through the avatar's face. Cameras following a player avatar often appear in platform and action games. Cameras bound to non-player entities often appear in sports games, where the camera targets the play ball. When the camera targets a player avatar, this binding affords the player a degree of control over the camera in that by moving their avatar around, players can view different parts of the game world, or view already seen locations from a different angle. When the camera targets a ball or similar game entity, the player often has indirect control over the camera through the control he exerts over the entity through game entities/avatars within his control. (One can move the camera in a soccer game by kicking the ball to the other side of the field.) '''Strong example''' During the game action, the camera in Jak & Daxter [Naughty-Dog, 2001] follows Jak & Daxter as they move around the game world, keeping them essentially at the center of the view. '''Strong example''' The camera in Return to Castle Wolfenstein [Markham, 2001] resides in the player avatar's head, providing a view of the game world through the eyes of that avatar. '''Strong example''' FIFA 2004 [Harrison, 2003] centers the game view on the game ball, having the camera move to follow players that possess the ball or the ball itself. Only when the ball goes out of the play field does the camera stop keying on the ball or the game entity that possesses it. ---- ====Parent==== *[[Camera Binding]] ---- ====Children==== None ---- ====References==== Harrison, B. (2003). FIFA Soccer 2004. Electronic Arts, playstation 2 edition. Markham, D. (2001). Return to Castle Wolfenstein. Activision Publishing, Inc., windows edition. Naughty Dog, developer (2001). Jak and Daxter: The Precursor Legacy. Sony Computer Entertainment America, playstation 2 edition. ac8011d60d0dbae225c6fc4775290e9edd5ee90f 0 67 67 2008-12-18T20:47:49Z Jp 0 8 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] ==Definition== ;How a game regulates the actions of a player in a game, and how those actions are distributed in time: The most traditional form of coordination is players taking turns. In many games, at any given moment, only one player can perform actions in the game, while the other players wait for their turn to play; Tic-Tac-Toe is a classic example of this. In turn-based (rather than turn-taking) games, players independently decide their actions and then resolve the consequences of these actions simultaneously. Once the actions have been resolved, a new turn begins and the players must again decide their actions. Rock-Paper-Scissors is a classic example of turn-based coordination. This form of segmentation regulates players’ actions over time, but does not constrain the length of time their moves can take. For instance, completing a game of chess can take from a few minutes to as long as the players think reasonable to meditate their next move. The duration of the game is thus at the discretion of the players, not the game (Salen and Zimmerman). ==Examples== ====Strong Example==== ''Rampart'' The game can be played by one to four players. Each player prepares his fortress within the time limit, building ramparts with tetris-like pieces, and situating cannons within the fortress. Once the time is over, there is the attack period, where each player will aim and shoot her cannons the other castles. When the time for attacking is over, the will have another turn to rebuild their fortresses, if they do not succeed in rebuilding, they are defeated. ====Strong Example==== ''Civilization IV'' In civilization IV each player takes turn making their moves and building cities or anything they wish to do. The next player only begins his/her turn after that person has decided the turn is over. The progression is determined by each player playing much like chess since it is turn based. The game soley relies on players to dictate the time disperment. ==Relations with other elements of the ontology== ====Parent==== [[Temporal Segmentation]] ====Children==== *[[Interleaved Games]] *[[Taking Turns]] *[[Rounds]] ==References== Salen, Katie, and Eric Zimmerman. ''Rules of Play: Game Design Fundamentals''. Cambridge, Massachusetts: The MIT Press, 2004. ''Rampart''. Midway (1990) Midway: Arcade 01e1b9dfee55efca48dd20a818ee187a38c1f503 0 68 68 2008-12-18T20:47:49Z Jp 0 5 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] ==Definition== ;Time becomes a resource when a game regulates the duration of the gameplay explicitly.: A game can establish its total duration, as well as any sub-periods and their length. When duration is explicitly regulated by a game, then time is being treated as a resource. For instance, a game might last ten minutes played in two halves of five minutes each. A temporal subdivision does not have to be constant for the duration of the game. Time can be considered a resource, in the sense that there might be certain actions, rules, or events that modify the game’s duration. Segmentation via temporal resource is common in sports games, such as basketball or soccer. In soccer, a game lasts ninety minutes, played in two halves of forty-five minutes. (The referee, however, has the authority to grant extensions on the duration of the half period if he believes certain in-game events warrant it.) Another form of temporal segmentation takes place when the player is allotted a specific amount of time to complete a certain task, fulfill a goal, or simply do the best he can. Also, many games use a different visual representation for what is essentially a time-limit. For example, Donkey Kong has a numerical counter, while other games may use an energy or fuel gauge. Temporal resource is not necessarily equivalent to a time-dependent goal. For example, in racing games the winning condition is taking the least amount of time to reach a certain location. In these cases, it is important to have a “low time” and there is an implicit “maximum time” (even the slowest opponent will eventually finish). This time, however, is not constant nor explicitly communicated to the player; therefore we cannot argue that temporal resource segments gameplay, unless the win-condition involved getting to a certain location in a certain amount of time. These are some questions that, if answered affirmatively, can help establish the degree to which time is used as a resource: *Is there a time limit to achieve a certain goal? or *Does the player manage a task as many times as possible within the time limit? *Is the limit made explicit to the player? *Does achieving the goal benefit the player, in the form of e.g. bonus points, or extra time in the next level? ==Examples== ===Strong Examples=== ====Atari Basketball==== Inserting a quarter in the machine granted the player one minute of playtime. Atari called this mechanism Add-A-Coin™. The actual time awarded per quarter depended on how the machine was configured by its operator. ====Marble Madness==== In order to succeed in Marble Madness, the player must be not only skilled but also fast to get to the goal. Every level must be completed within the allotted time (which does not change); when the counter reaches “00” the game ends. Interestingly, the temporal resource segmentation allows the player to begin a level adding leftover time if he performed well on the previous one (though this is not true of all levels). However, if the player loses the marble over the edge, he loses time because the timer is not paused while the new marble is repositioned. The lure of reaching the end goal with seconds to spare, combined with the agony of losing time after a precipitate maneuver results in a tense gameplay experience. ===Magic: The Gathering Online=== In Magic: The Gathering Online, play is regulated by a clock that alternates between players when each has priority. The clock acts as a limiting factor and is one of the main argument for digital tournament Magic over paper tournament Magic, as paper magic is not nearly as punitive of slow play (in MTGO, the player loses when he or she runs out of time). Being able to manage time as a resource is not a factor that players playing with physical cards can visualize so easily. ===Weak Examples=== ====Harry Potter: Quidditch World Cup==== The duration of the game is established by how soon one of the members of the team (the so-called seeker) takes to retrieve the snitch. In the GameCube version of the game, each action that the player does (e.g. passing, or scoring) adds up to the bar that indicates how close the player is to have the chance to retrieve the snitch. The better the player does in the game, the sooner she will race to get the snitch. ====Starcraft==== In Starcraft, which is a RTS (real time strategy) game, you have to manage many resources in order to achieve victory. The main resources can be seen as minerals, gas, and supply limit, which act as constraints on what you can build, upgrade, etc. Another resource that the player can have in single player mode is time, which usually will come in the form of a count-down timer, where the player is forced to defend a base from oncoming attackers or complete some mission. In addition, in playing against both AI and other human players online, the player must utilize his/her time quickly and efficiently in order to win. ==Relations with other elements of the Ontology== ===Parent=== [[Temporal Segmentation]] ==References== ''Donkey Kong''. Shigeru Miyamoto (1981) Nintendo: Arcade. ''Atari Basketball''. Atari (1979) Atari: Arcade ''Marble Madness''. Atari (1984) Atari: Arcade ''Harry Potter: Quidditch World Cup (2003)''. Electronic Arts: GameCube (also PC, PS2, XBOX, GBA) cc12547cd249295164a47f656ab35901f1f25c05 0 69 69 2012-10-03T17:28:33Z Jp 0 Reverted edits by [[Special:Contributions/Wilsoncaldwell|Wilsoncaldwell]] ([[User talk:Wilsoncaldwell|Talk]]); changed back to last version by [[User:Jp|Jp]] wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] ==Definition== ;Limiting, synchronizing and/or coordinating player activity over time.: In most non-electronic games, temporal segmentation is the only way of breaking down gameplay. For example, games where players take turns segment gameplay by defining the order and manner in which players may participate, as well as implying that a player cannot play during someone else’s turn. Another way is by stipulating fixed time periods that define the duration of the game. Many sports games favor segmentation of this type by enforcing real-world time limits. This type of segmentation can take two distinct forms—the first regulates who plays when; the second specifies time limits or periods of gameplay. The first form is about coordination, while the second uses time as a resource. ==Examples== ====Weak Example==== In the arcade racing game ''Daytona USA ''the player is awarded time extensions for reaching certain checkpoints during a race. These extensions are added to a clock that is counting backwards. When it reaches zero, the player loses. It is interesting to note that in this case the player can lose the game in two ways. The first is by not finishing the race due to running out of time. The second is by not finishing the race in a decent enough position. (for example, finishing next-to-last). This is a weak example because each race is in itself a segmentation of gameplay. This could easily be interpreted as a challenge or as a location. ====Strong Example==== ''Road Fighter'' (MSX) Road Fighter is a racing game, where the player must get to the goal in each level before he runs out of fuel. Speeding up to the end is the key to win the game, dodging other vehicles and oil stains. Whenever the car crashes, some fuel is lost; there are some extra fuel bonuses that appear as the player advances without crashing for a continued period of time. The fuel gauge, which decreases steadily, serves as a counter displaying how much time the player has to complete the level. ====Weak Example==== In ''Dance Dance Revolution'' (PSX) the player must select a song to play. Since each song has a pre-determined duration it could be argued that Dance Dance Revolution segments its gameplay according to the length of each of the songs. This is a weak example because the duration of the song is not openly displayed and also because each song could be interpreted as a self-contained challenge that must be overcome. In fact, in order to not lose the player must maintain a certain score for the duration of the song. References: ''Road Fighter''. Konami (1985) Konami: MSX ==Relations with other elements in the ontology== ====Parent==== *[[Segmentation of Gameplay]] ---- ====Children==== *[[Temporal Coordination]] *[[Temporal Resource]] 1a0c7d8e01e8f7954dae7486cad01291ba2053f9 0 70 70 2008-12-18T20:47:50Z Jp 0 12 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] The game provides the player a "them" perspective, where the player controls multiple game entities, maintaining an outside perspective of all the game entities, rather than looking through the eyes of any given entity under the player's control, much like third person limited omniscient perspective in literary parlance. A third person perspective is often used in games where the player can manipulate multiple entities within the game. Using these two patterns together serves to create a coach or commander position within the game for players. '''Strong example''' Warcraft III [Pardo, 2002] provides the player a "bird's eye" view of the battlefield that the user can scroll through cursor motion and direct camera controls. The player can select characters and objects in the world with the cursor and issue commands to different units by clicking on icons and menu items with the on-screen cursor. '''Strong example''' Grand Theft Auto 3 you control Claude Speed from a third person perspective. The camera is facing his back and the mouse controls the facing movement available. You can also jump on vehicles and jump backwards and see his face. You can also look behind you and to the side of you ---- ====Parent==== *[[Point Of View]] ---- ====Children==== None ---- ====References==== Pardo, R. (2002). Warcraft III: Reign of Chaos. Blizzard Entertainment, windows edition. 81aa52368d00bc4914ba727a3febbdc4b83e1ab5 0 71 71 2008-12-18T20:47:50Z Jp 0 7 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] The camera used to depict the game state moves in three dimensions. That is, the camera can move up and down, left and right, forward and backward, tilt or pan, and zoom in and out. ==Examples== ====Strong Example==== Super Mario 64 [Miyamoto, 1996] places Mario in a 3D world represented in three dimensions. The camera can move in essentially any direction-forward, back, left, right, up, down or circle around objects. ====Strong Example==== In Viewtiful Joe [Capcom Production Studio 4, 2003], a 3D camera depicts gameplay that is essentially two dimensional. While Joe uses cel-shaders to flatten the representations of 3D game entities, the 3D nature of the game's camera comes out when Joe jumps near the top of the screen. Rather than moving up on a 2D plane to follow Joe, the camera remains in its location and tilts up, showing Joe in a low angle shot. ====Strong Example==== Black & White [Lionhead Studios, 2001] utilizes a well-developed 3D camera--in fact, part of the tutorial involves learning how to direct the camera (zoom in and out, tilt up and down, and move left and right and so on) with the keyboard keys. ==Relations with other elements of the Ontology== ====Parent==== *[[Camera Dimensions]] ==References== Capcom Production Studio 4, editor (2003). Viewtiful Joe. Capcom, gamecube edition. Miyamoto, S. (1996). Super Mario 64. Nintendo, nintendo 64 edition. 181697e9a726e4161f555e041a88730fecfddff6 0 72 72 2010-07-23T14:44:32Z Jp 0 Reverted edits by [[Special:Contributions/Ashley|Ashley]] ([[User talk:Ashley|Talk]]); changed back to last version by [[User:Jp|Jp]] wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] The game world is visually represented to the player using three dimensional graphics. That is, it's represented as having height, width and depth, like the "real world" we all inhabit. The dimensionality of the camera is independent of the dimensionality of the game's world. That is, a three dimensional camera may be used to depict gameplay that takes place on less than three dimensions. ==Examples== ===Strong Example=== ====Super Mario 64==== Super Mario 64 [Miyamoto, 1996] places Mario in a 3D world represented in three dimensions. Objects in the world are represented as having three dimensional volume (height, width and depth). ---- ====Parent==== *[[Camera Dimensions]] ---- ====Children==== None ---- ====References==== Miyamoto, S. (1996). Super Mario 64. Nintendo, nintendo 64 edition. 788552af1e03621ed3499f620f2dcd96cc5d5f60 0 73 73 2008-12-18T20:47:50Z Jp 0 2 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Similar to rotary paddle controls, thruster joysticks move along a single axis. The exact implementation of a thruster stick can vary, some providing a point value along an axis in the same way as a rotary control, others providing a value reflecting the stick's displacement from a "home" position. ---- ====Parent==== *[[Input Devices]] ---- ====Children==== None b4f1b190a5a7cc7a7c34cb2ecd0e888c352f9cba 0 74 74 2008-12-18T20:47:50Z Jp 0 3 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Goals]] Time is used in many different ways as a goal metric. For example, a player may be informed that he has a certain amount of time to complete a task. This is frequently presented in a dramatic narrative context such as time before a bomb detonates, or before a ship sinks. Other contexts, such as those seen in sports where the game has a specified duration, are much more arbitrary. Another use of time as a goal metric is to use it as a measurement against which to directly compare (and determine) success. For example, in most racing games, the winner is determined on the basis of who traversed the race track in the least amount of time. In fact, some racing games penalize competitors that perform bad maneuvers (like crashing obstacles) by adding seconds or minutes to their final time. ====Weak Examples==== "Sudoku" While it is possible to keep track of the time it takes to complete a puzzle yourself, in order to have your own 'best time' and try to beat it, there are no real restrictions on (or rules about) time in the game sudoku. ---- ====Parent==== *[[Goal Metrics]] ---- ====Children==== None c7141b2967124fd54c13805870c04dee67ea1394 0 75 75 2008-12-18T20:47:50Z Jp 0 5 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] In games where time metrics are important to their gameplay, the game typically provides a graphical or numeric time meter. ==Examples== ====Strong Example==== ''Super Mario Bros.'' In Super Mario Bros. [Miyamoto, 1985], players must guide Mario or Luigi through a level within a specified time limit. In the upper right corner of the screen, the game displays the amount of time the player has left to complete the level before losing a life. ====Weak Example==== ''Super Mario World'' In Super Mario World a player must navigate a variety of puzzle which are activated by a switch. This activation causes sections of the level to appear or disappear, creating a navigable path. This change is only temporary and the player is notified of this by an addition of ticking to the game audio. Over the life of the puzzle, the ticking increases in frequency until the puzzle ends. This is in essence an audio time indicator. ===Weak Example=== ''Prince of Persia'' In the Prince of Persia there are many switches which have a time limit that allows the player to progress through the game. If the player doesn't make it in the alloted time there is the possibility that the player will lose. ==Relations with other elements of the Ontology== ====Part-Of==== *[[Head Up Display]] ==References== Miyamoto, S. (1985). Super Mario Bros. Nintendo, nintendo entertainment system edition. 73d0619b30d4874ccec49c448b280bfb83ae42e0 0 7 7 2008-12-21T17:51:11Z Jp 0 Reverted edits by [[Special:Contributions/85.234.133.252|85.234.133.252]] ([[User talk:85.234.133.252|Talk]]); changed back to last version by [[User:Jp|Jp]] wikitext text/x-wiki This is a page where we will keep track of things we want to change, move around, etc. # We want to add a new entry called "Visualization of State" and move entries like Health indicator (currently under Hud) under here. # Do we want to add gameworld rules to capture the notion of games whose gameworld has "wrap-around". # Need to improve description (maybe including a set of questions) of so as to better understand the distinction between gameworld and gameplay rules. 08c8c4d9c0d9f6e2821556ac43d7af06b4472e76 0 76 264 76 2015-07-27T23:26:17Z Jzagal 2 wikitext text/x-wiki {{proposal}} [[Category:Proposal]] [[Category:Ontology]][[Category:Entity Manipulation]] Accelerating time occurs when all events in the gameworld are uniformly sped up in relation to a standard rate and all game entities maintain a standard level of agency. Examples: Viewtiful Joe, Sim City ==Parent== *[[To Manipulate Time]] 14adeaf20154c8008b99884412e6382527341f33 76 2008-12-18T20:47:51Z Jp 0 8 revision(s) wikitext text/x-wiki {{proposal}} [[Category:Ontology]][[Category:Entity Manipulation]] Accelerating time occurs when all events in the gameworld are uniformly sped up in relation to a standard rate and all game entities maintain a standard level of agency. Examples: Viewtiful Joe, Sim City ==Parent== *[[To Manipulate Time]] 9f3227636ff8d599fa29a55c5ade18ca6926b288 0 77 77 2008-12-18T20:47:51Z Jp 0 3 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Entity Manipulation]] An entity that captures another entity claims ownership of that entity. The captured entity may have previously been claimed or unclaimed. If capture occurs on a claimed entity, the previous owner involuntarily loses ownership. Other activities are often required to capture an entity. Simple collision or target acquisition of an entity may capture the entity. In cases of capturing locations or territories, the capturing entity may only have to move into the location or territory. ==Examples== ====Strong Example==== ''Rise of Nations'' In Rise of Nations, nations can capture other nations' cities by damaging the city and sending infantry into the damaged city. The city then goes through an assimilation period during which the city does not benefit either nation, and the previous owner can capture the city back. ====Strong Example==== ''Homeworld'' In Homeworld, the Salvage Corvette unit can capture damaged ships owned by another fleet. The captured ships become part of the fleet to which the Salvage Corvette belongs. ====Weak Example==== ''Super Mario World'' In Super Mario World, a player may capture the shell of a stomped koopa. In doing so, the once protective shell of the koopa becomes a weapon against him. This is a very fleeting example, as ownership is very brief. ==Relations with other elements of the Ontology== ====Parent==== *[[To Own]] ====Children==== None 5a8547e7a566f1cce9b3e23da7b3b0ec7b1b3df0 0 78 78 2008-12-18T20:47:51Z Jp 0 7 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Entity Manipulation]] When an entity (the collector) collects another entity, the collected entity is added to the collector's inventory. The entity is captured by the collector, granting it ownership. The collected entity is no longer available to be collected by any other entities. The collected entity can usually be released back into the game world, or exchanged for other entities, depending on the rules of the inventory system of the game. Collection should not be confused with removal that awards score. ==Examples== ===Strong Example=== In Diablo, the player-controlled entity can collect various items, including potions, weapons, and armor. These items are carried in the entity's inventory (the inventory includes items equipped on the entity). The entity can utilize or release any of these items once collected. The entity assumes ownership of all collected items. ===Weak Example=== In The Secret of Monkey Island, some of the items found in the world can be added to Guybrush's inventory through the "pick up" command. Collected items are almost always permanently removed from the game world (notable exceptions include a mug that will reappear if the mug in your inventory is reduced to a lump of pewter), and items remain in the inventory until used in the world. Additionally, at certain moments in the game, the player's inventory is modified without the player's consent. This happens when the player finishes a chapter and moves on to a new one. The player's inventory is emptied, except for a few items (red herrings?). ===Strong Example=== In Mario Party, the player-controlled entities coins by landing on certain spaces and winning mini-games. The coins can be used to buy stars or to pay Boo to steal stars from other player-controlled entities. Each board allows you to exchange coins for other services with non-player entities as well. '''Counter Example''' In Super Mario Bros., Mario can remove coins which increase his coin score. This is not the same as inventory, as Mario cannot utilize the coins in any manner. Instead, Mario is awarded a bonus life when his coin score reaches 100. Additionally, the coins are permanently removed from the game world, and cannot be released into the game world again. ---- ====Parent==== *[[To Possess]] ---- ====Children==== None f21f9cbf891560553e641874dbb17a827d70570e 0 79 79 2008-12-18T20:47:51Z Jp 0 11 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Entity Manipulation]] Collision occurs when two solid entities attempt to co-occupy the same location or locations. In some games, there is no effect other than the fact that the entities must move around each other to reach a destination goal. Other games have specific consequences for collision. Sometimes one or both entities are removed. Sometimes an attribute changes on one or both entities (ie, health attribute decreases). Entities moving on a predetermined path will often change direction when colliding with another entity. In some games, collision will allow an entity to collect another entity. Agents can prevent other entities to prevent them from moving through the location of the agent. Successful obstruction of a location results in collision of the two entities. An agent can intentionally collide with another entity by moving into its location. An agent may intentionally move into another entity's location for various reasons. Collision may remove the entity with which it collided. Collision may allow the agent to collect the entity with which it collided. ===Strong Examples=== ====Pong==== In Pong, the ball will change direction when it collides with a wall or a paddle. Players intentionally move their paddles in order to prevent the ball from going past them. If the paddle successfully obstructs the ball, the ball is deflected in the opposite direction. The new trajectory of the ball depends on where on the paddle it collided. If the paddle does not successfully obstruct the ball, the player that controls the other paddle scores a point. ====Space Invaders==== In Space Invaders, the player-controlled ship will be removed when it collides with an alien. The alien will also be removed. ====Super Mario Bros.==== In Super Mario Bros., the player's coin score will increase by one when the player-controlled entity collides with a coin. The coin is removed. Their collision with bricks can cause several different actions depending on the size of Mario. Collision with ? boxes causes an item to appear. There is also the collision with hidden boxes that can reveal hidden areas and items. ====Pac-Man==== In Pac-man, Pac-man can collide with ghosts. In his normal state, this will remove Pac-man. If he has recently eaten a super pellet, this will remove the ghost. ---- ===Parent=== *[[Entity Manipulation]] ---- ====Children==== None 2cd9a081291261788c505c8debc29a0eacb93707 0 80 80 2008-12-18T20:47:52Z Jp 0 21 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Entity Manipulation]] An entity or player can instantiate new entities in the game. In some cases, this is done through directy player input, where there is no game entity creating another game entity. Entities can also create other entities either through player direction or based on an AI decision. Creation can be instantaneous, or can be developed over time. Creation may require no prior resources, or it may utilize resources available to the player or game entity. If an entity was not represented in the game world, but it's existance was implied, it is not considered creation when the entity is represented on the screen. An obvious example of this is a new enemy appearing on screen in a shooter. The enemy did exist in the game world prior to appearing on screen, and therefore was not "created" at that instance. Equally important, again using a shooter as an example, entities do not "create" bullets (or lasers, etc) by shooting. Instead, these projectile entities had an implied existance within the weapon despite the fact that they were not yet represented. ==Examples== ===Strong Examples=== ====Advance Wars==== In Advance Wars, a player can create units at certain owned properties. Creation requires funds which is a resource controlled by how many buildings a player controls each turn. Creation of units is instantaneous but the unit can't be moved until next turn. Airplanes can only be spawned at airports, ships can only be spawned at ports, and ground vehicles and infantry are spawned at bases. Infantry can capture more buildings to increase funds resource or capture buildings that can spawn more units. ====Starcraft==== In Starcraft, a player can create units at his buildings. The creation process takes time; the amount of time depends on the unit. After the predetermined creation time, the unit is created and located next to the building that the player used to create the unit. The creation of units requires resources; the amount of resources depends on the unit. ====Gauntlet==== In Gauntlet, the generators create more monsters. When a generator is removed, no more monsters are created from that generator. ===Weak Examples=== ====Katamari Damacy==== In Katamari Damacy, the point of each level is to create the katamari per certain specifications. This is a weak example because what the player eventually creates really is not functional once it is created. Although you are using the items presented to you in the world and taking time to gradually create it, once you're done the katamari essentially is not used again. It is evaluated and regardless of how good or bad it is it is created into a star. The player spends time creating an object they essentially never see or use again. It is also a weak example because since the Katamari that is created is effectively the result of a process of accumulation of other existing objects. Is it really a new object or not? The Katamari does have properties that are different from the individual objects "captured", however it doesn't change in itself (other than becoming larger). ====Knights of the Old Republic==== In '''Knights of the Old Republic''', the main goal over most of the course of the game is to search for parts of the Star Map. Once completed, the Star Map will point the player to the location of an ancient weapon upon which the outcome of the game is based. The exact process by which the characters gather the parts of the Star Map isn't made explicit, but the Star Map becomes more and more detailed as the player progresses. ---- ==Game Ontology Relations== ====Parent==== *[[Entity Manipulation]] ====Children==== *[[To Generate]] cbd43d4724d28a2530968a4ef58551047a253543 0 188 188 2009-08-15T15:34:37Z Jp 0 wikitext text/x-wiki {{proposal}} [[Category: Proposal]] To customize an entity means basically the ability of the player to create or modify it according to his/her personal taste. This customization can be performed in a number of ways and involve several aspects of the entity being affected such as graphics, sounds, name, performance, etc. ==Relations with other elements of the Ontology== ====Parent==== *[[Entity Manipulation]] ====Children==== *[[In-game Customization]] *[[Customization via Game Menu]] *[[Extra-game Customization]] 8dea069596f307dcca7141c78d440dbe0355e134 0 81 265 81 2015-07-27T23:27:11Z Jzagal 2 wikitext text/x-wiki {{proposal}} [[Category:Proposal]] [[Category:Ontology]][[Category:Entity Manipulation]] Decelerating time occurs when all events in the gameworld are uniformly slowed down in relation to a standard rate and all game entities maintain a standard level of agency. This effect has come to be commonly referred to as 'bullet-time.' From a gameplay perspective, decelerating time is usually used as a device to allow players more real-time to plan and execute their actions in the game. Decelerate Time should not be confused with games in which the player can set the "speed" at which events happen. For example, setting the length of a football (soccer) match in FIFA 2002 isn't time deceleration because the speed at which the events will happen is uniform for the entire match. Examples: Max Payne, FEAR, Viewtiful Joe ==Examples== ===Strong Examples=== ====Sim City==== In Sim City, the player can set the speed at which time passes in the game. This setting can be changed in the middle of a particular session (ie, while building a particular city) and it is often used by players as a way to "pass time" until the next important in-game event, usually the end of the year. Also, some players use it to quickly accumulate riches once they've built a city that is profitable. ===Weak Examples=== ====Okami==== In Okami a player my execute a brush stroke that decelerates time. This deceleration only effects enemy entities and not that of friendlies. In this sense, it is a local deceleration. The enemies move an extremely slow pace compared to the player's character, allowing for numerous attacks and easy evasion. SInce the deceleration isn't uniform, it is considered a weak example. Since the deceleration isn't uniform, it is considered a weak example. ====Legend of Zelda: Majora's Mask==== In Zelda: Majora's Mask, a key element of the game is using the Ocarina to slow down time, allowing the player more time to complete dungeons and other tasks. Because you can speed time back up at will, it is a weak example. ==Parent== *[[To Manipulate Time]] e33c2cae30b9c76285652ba32279e332d43da4cb 81 2008-12-18T20:47:53Z Jp 0 9 revision(s) wikitext text/x-wiki {{proposal}} [[Category:Ontology]][[Category:Entity Manipulation]] Decelerating time occurs when all events in the gameworld are uniformly slowed down in relation to a standard rate and all game entities maintain a standard level of agency. This effect has come to be commonly referred to as 'bullet-time.' From a gameplay perspective, decelerating time is usually used as a device to allow players more real-time to plan and execute their actions in the game. Decelerate Time should not be confused with games in which the player can set the "speed" at which events happen. For example, setting the length of a football (soccer) match in FIFA 2002 isn't time deceleration because the speed at which the events will happen is uniform for the entire match. Examples: Max Payne, FEAR, Viewtiful Joe ==Examples== ===Strong Examples=== ====Sim City==== In Sim City, the player can set the speed at which time passes in the game. This setting can be changed in the middle of a particular session (ie, while building a particular city) and it is often used by players as a way to "pass time" until the next important in-game event, usually the end of the year. Also, some players use it to quickly accumulate riches once they've built a city that is profitable. ===Weak Examples=== ====Okami==== In Okami a player my execute a brush stroke that decelerates time. This deceleration only effects enemy entities and not that of friendlies. In this sense, it is a local deceleration. The enemies move an extremely slow pace compared to the player's character, allowing for numerous attacks and easy evasion. SInce the deceleration isn't uniform, it is considered a weak example. Since the deceleration isn't uniform, it is considered a weak example. ====Legend of Zelda: Majora's Mask==== In Zelda: Majora's Mask, a key element of the game is using the Ocarina to slow down time, allowing the player more time to complete dungeons and other tasks. Because you can speed time back up at will, it is a weak example. ==Parent== *[[To Manipulate Time]] 5fcade747135da0b367c343ef895783a311b8590 0 82 82 2008-12-18T20:47:53Z Jp 0 9 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Entity Manipulation]] Entities can move for the purpose of avoiding contact with another entity. The entity must make the decision to move based on the goal of avoiding contact with another entity. Therefore, this element is only available to agents. Usually, this decision is made for the purpose of survival, where contact with the entity would either cause or contribute to the removal of the agent. Other times, it may not cause or contribute to removal, but contact would have another negative effect on the agent. One example of this is in a racing game where contact with some entities would merely slow the agent down. Finally, agents may make the decision to evade with the goal of preventing a positive benefit from the entity colliding with the agent (or entity causing the collision, whether involved in the collision or not). For example, a game might reward a player points for shooting some agent. While shooting the agent has no negative effect on the agent, the agent still tries to avoid the player's shots in order to deny the player points. ==Examples== ===Strong Examples=== ====Pac-man==== In Pac-man, Pac-man must collect all the pellets while evading the ghosts. If Pac-man collides with a ghost, he is removed. ====Galaga==== In Galaga, the player-controlled ship must evade incoming bullets from the non-player ships. The player-controlled ship is removed if it collides with a bullet. ====Border Down==== Border down is a modern SHMUP for the Dreamcast that has elements of the manic shooter style of game mechanic. As with most modern SHMUPs, evasion is as important of even more important than attacking enemies. The player must evade endless streams of enemy fire while trying to complete various stages. This is accomplished by skillful mastery of the directional or analog controller inputs and possessing abouve average reflexes in some instances. Incentive for evasion is driven by the gameplay mechanic of forcing the character to always be on edge, due to the fact that collsion with an enemy, enemy fire, or a stage object results in an instant loss of life. ====Diablo II==== Most of the challenge in the later sections of Diablo II comes from evading enemy attacks. As the game progresses the damage increases much faster than your hit point total, so you are able to take fewer and fewer hits in a given span of time. Physically evading is the only reliable way to avoid hits, so skilled players will evade almost every attack while novices will evade almost nothing. ===Weak Examples=== ====Katamari Damacy==== In Katamari Damacy you must evade objects that are still too large for you to pick up. Colliding with these obects can cause your Katamri to lose elements, and thus size. (the goal is always to increase the size of your Katamari). Even though later you may come to pick the object up, you still have to navigate around it in order to make your way smoother. This is a weak example because not evading a larger object does not always have negative consequences and when you are large enough you don't have to evade at all. ====Final Fantasy Tactics==== In final fantasy tactics all actions/ movements are dictated by a characters statistics. In order for a character in one's party to successfully evade an attack from an enemy, the player must rely on the evasion statistic inherent in the character. This statistic is expressed in percentage terms and may be influenced by equipping certain items or abilities to the character. For example, normal evasion rates, which are expressed in percentage terms, lie around the 30% or less area. However if one were to equip the ability "blade grasp", their evasion would then be reliant mainly on their brave statistic instead of the innate evasion statistic. From there the player can indirectly manipulate their evasion statistic by increasing their brave using a brave modifying ability such as "scream". ---- ==Parent== *[[To Move]] ---- ==Children== None f43acd764fef62bf9dcc20bd2c0e2039cd8e0aca 0 83 83 2008-12-18T20:47:55Z Jp 0 26 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Entity Manipulation]] Exchange is the voluntary change in ownership over an entity or entities between two owning entities. The exchange can be symmetrical where there must be parity between the values of exchange, or asymmetrical requiring no such equity. In symmetrical exchanges, the entities exchanged may be similar in function, or completely different. It is still symmetrical as long as the values of the entities are equal. Exchange with player-controlled entities require both players to agree to the exchange. These exchanges have no required symmetry; instead, the players determine "fairness" of an exchange based on their strategy. Exchanges with non-player entities are often forced to be symmetrical by the the system. For example, in many RPGs, players can shop for items using currency. The amount of currency exchanged for an item is set; the non-player entity will not take more or less currency for an item. Some games still do not require symmetrical exchanges between a player and a non-player entity. In these games, players can barter with non-player traders to get the best deal when buying or selling their goods. Symmetry again becomes relative as it is in player-to-player exchanges. ==Examples== ===Strong Example=== In Neverwinter Nights, player-controlled entities can exchange items with each other. The exchange process is initiated by one player. Both players select items to offer, then press the "Offer" button. If they change their items, they must press "Offer" again. Once both players have pressed "Offer", each player must press the "Accept" button to finalize the exchange. The exchange can be asymmetrical or symmetrical. ===Strong Example=== In Pokemon, players can exchange pokemon with each other. The exchange is always a 1 for 1 trade. Each player selects which pokemon he wants to give away. Each player is then alerted of the pokemon he/she will be receiving in exchange. If both players accept, then the exchange takes place. Additionally, the Pokemon received retains the name of its original captor. The game has explicitly designed trading as an important aspect since there are some Pokemon who only become available as the result of a trade taking place. Different versions of the game have only partial subsets of the Pokemon available in the game. Additionally, some pokemon are transformed (they evolve) by the trading process. ===Strong Example=== In Final Fantasy III (US), the player-controlled entities can exchange gold for items with merchants. Different merchants require different amounts of gold for the same items, but each merchant will only accept their set amount of gold. ===Strong Example=== In Trade Wars, player-controlled entities can exchange currency for goods with non-player entities and vice versa. The non-player entities have a starting price, but the player-controlled entities can try to haggle to get the best deal. The non-player controlled entity may or may not accept a player-controlled entity's offer ===Weak Example=== In [http://yahooligans.yahoo.com/content/games/rules/gofish/fishbasics.html Yahooligans! Go Fish!], if player A requests a card of rank R from another player B, and player B has one or more cards of rank R, then player B transfers all cards of rank R to player A. The exchange is voluntary in the sense that player B wants to continue playing the game; if player B did not transfer some of those cards to player A, player B would cease to play the game. The exchange is involuntary in the sense that player B does not want to increase player A's chances of creating additional books (4 cards of the same rank). The player with the most books wins. If player B had more books than player A and knew that player A had a low chance of creating a book from his cards of rank B, player B might volunteer to transfer those cards, since the game ends when a player has no more cards or the deck has no more cards. ---- ====Parent==== *[[To Own]] ---- ====Children==== *[[To Transfer]] 812ac6e802e629ee07838769272bd63c90868d49 0 84 266 84 2015-07-27T23:28:47Z Jzagal 2 wikitext text/x-wiki {{proposal}} [[Category:Proposal]] [[Category:Ontology]][[Category:Entity Manipulation]] Fast-forwarding time occurs when all gameworld time is uniformly accelerated. While a fast-forward is in effect, a player only has agency over the fast-forwarding action. Examples: Sim City ==Parent== *[[To Manipulate Time]] ==Children== *[[To Skip Time]] a545c82c7f3cb2b670a2855283933540ac7ca2fc 84 2008-12-18T20:47:55Z Jp 0 5 revision(s) wikitext text/x-wiki {{proposal}} [[Category:Ontology]][[Category:Entity Manipulation]] Fast-forwarding time occurs when all gameworld time is uniformly accelerated. While a fast-forward is in effect, a player only has agency over the fast-forwarding action. Examples: Sim City ==Parent== *[[To Manipulate Time]] ==Children== *[[To Skip Time]] af1d950ab04325d2ae89d1bb447a76a801e9971a 0 85 85 2008-12-18T20:47:55Z Jp 0 6 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Entity Manipulation]] Generation is a specific type of creation where entities are created without removing any other entity. In this manner, entities can be generated without removing any other entity or decreasing any resource. Most games with generation will place a limit on how often an entity can be generated in order to regulate the amount of entities generated. ====Strong Example==== In Gauntlet, monsters are generated from the generators. When a generator is removed, it can no longer generate monsters. If all the locations adjacent to the generator are occupied, the generator cannot generate monsters. The generator has a short delay between generations to prevent constant generation of monsters. ====Weak Example==== In Mega Man (2 through 8), the player can acquire abilities to summon his companion, Rush. Rush teleports to Mega Man's side to convey some benefit at the cost of weapon energy, and he departs after some time or usage constraint. The weapon energy cost is the "limit" placed on Rush's generation, though Rush can only be summoned once at a time (no duplicates, regardless of remaining energy). ---- ====Parent==== *[[To Create]] ---- ====Children==== None b0c125c09bf41f6e62ccf9485d1c389df9d56885 0 86 267 86 2015-07-27T23:29:13Z Jzagal 2 wikitext text/x-wiki {{proposal}} [[Category:Proposal]] [[Category:Ontology]][[Category:Entity Manipulation]] Localizing time is where the temporal rules governing one entity differ from the temporal rules govering other entities in the same general game space. Example: In Super Mario Bros. 2, Mario, through obtaining a stop watch, is able to Pause Time for all entities in the gameworld except for himself. mario retains full agency while this localized pause is in effect. ==Parent== *[[To Manipulate Time]] 6231942943d77f90cf50728938569d2cd4e6384c 86 2009-08-15T15:26:28Z Jp 0 wikitext text/x-wiki {{proposal}} [[Category:Ontology]][[Category:Entity Manipulation]] Localizing time is where the temporal rules governing one entity differ from the temporal rules govering other entities in the same general game space. Example: In Super Mario Bros. 2, Mario, through obtaining a stop watch, is able to Pause Time for all entities in the gameworld except for himself. mario retains full agency while this localized pause is in effect. ==Parent== *[[To Manipulate Time]] 5ec03bc86c21121b024835c2395282b979c35750 0 87 87 2009-08-19T22:10:49Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Entity Manipulation]] Resource management is an umbrella term for various activities involving resources. Resource management activities can be divided into two categories: production and allocation. Resource production increases the amount of resources available. The method of production of resources varies from game to game. Many strategy games require units to transport resources from a resource cache to a specific building. Other games have resource production occur over time, and the amount produced each period is determined by the rules of the game. First-person shooters require players to collect ammunition, which is the only method of resource production. Resource allocation is the method of determining when and how to use the resources. Many strategy games require resources to create units, create buildings, and upgrade units or buildings. Resource allocation requires the player to determine how to use resources in the most beneficial way to achieve the game goals. In first-person shooters, resource allocation requires the player to determine when to use what ammunition. Some ammunition might be more abundant but less powerful than other ammunition. ==Examples== ===Strong Examples=== ====Starcraft==== In Starcraft, players must use their worker units (SCV, Drone, or Probe) to produce resources. Worker units transport resources from resource caches to the main building (Command Center, Hive, or Nexus). Resource allocation involves the player constructing new buildings, constructing new units, or researching upgrades. ====Resident Evil==== In Resident Evil, the player-controlled character collects resources by finding ammunition or herbs (for health). Resource allocation requires the player-controlled character to determine when to use more powerful weapons, like guns, at the cost of ammunition versus when to use his knife. With herbs, the player needs to decide if it is necessary to use an herb immediately, or save it in hopes of combining it with other herbs for a more powerful effect. ---- ==Parent== *[[Compound Action]] ---- ==Children== None b0780ec477fb83fd61055e647e3e284ea5e68743 0 88 260 88 2015-07-27T23:23:01Z Jzagal 2 wikitext text/x-wiki {{proposal}} [[Category:Proposal]] [[Category:Ontology]][[Category:Entity Manipulation]] ==Definition== '''Use of time as a manipulable element by players for gameplay reasons''' The player can control or alter the passage of time in the gameworld. In this sense, time itself can be considered as an entity that can be individually manipulated by the player for gameplay reasons. To Manipulate time is different from travelling in or through time. Many games feature, as part of their narrative fiction, time-travel, however, in these cases, temporal manipulation is not an aspect of gameplay which the player can manipulate. ---- ==Examples== ===Strong Examples=== ====Legend of Zelda: Majora's Mask==== In the Legend of Zelda: Majora's Mask the player must control time withing the game. You are allowed to flow back and forth through a period of three days. You are able to control the time of day as well as control what day you are on. Link is given a three day period of time in which he must save the world from a comet that is about to destroy the town. He must finish all of his quests before the third day and to do so the player must control the speed of the day, whether or not its day or night, and is able to travel back days in time. ====Prince of Persia: The Sands of Time==== In Prince of Persia: The Sands of Time, the player can reverse, slow, or stop time to allow him to improve or retry his actions. ====Viewtiful Joe==== In the game, Joe is capable of slowing time in a "bullet time" style, enabling him to move much more quickly than his opponents, thus making it vastly easier to defeat the never-ending waves of enemies, particularly near end-game in which the enemies, the final bosses included, are geared toward a necessary kick into the slowed-down time if the player is to defeat him. ===Weak Examples=== ====Chrono Cross==== Chrono Cross (Squaresoft, 2000) Once the player has cleared the game once, they gain a special item that allows them to speed up and slow down time in the game by holding the left or right sholder buttons. This is a weak example because it is merely a tool so that it would be easier for players to reach multiple endings during their subsequent playthroughs. Also, it has nothing to do with the game's narrative. ====Legend of Zelda: Ocarina of Time==== The player is allowed to pull a sword from the temple of time which allows him to traverse between his young self and adult self, however, this is just a way to transfer between two versions of the level. True, one affects the other as in the adult world actions you take as a child show up, but you are not really controlling the time change, you simply decide which of Links worlds you want to play in or need to be in to complete a goal. You "time warp" but do not really go anywhere, time is not sped up or slowed down, it is simply reversed or forwarded to specific points and the rest of the game play does not involve shifting time, it is only done once at a specific place. ==Game Ontology Relations== ===Parent=== *[[Entity Manipulation]] ===Children=== *[[To Start Time]] *[[To Pause Time]] *[[To Rewind Time]] *[[To Fast Forward Time]] *[[To Accelerate Time]] *[[To Decelerate Time]] *[[To Localize Time]] 66dfed9e05d87cc78b59c2ea555e7f0c039f03a2 88 2008-12-18T20:47:58Z Jp 0 50 revision(s) wikitext text/x-wiki {{proposal}} [[Category:Ontology]][[Category:Entity Manipulation]] ==Definition== '''Use of time as a manipulable element by players for gameplay reasons''' The player can control or alter the passage of time in the gameworld. In this sense, time itself can be considered as an entity that can be individually manipulated by the player for gameplay reasons. To Manipulate time is different from travelling in or through time. Many games feature, as part of their narrative fiction, time-travel, however, in these cases, temporal manipulation is not an aspect of gameplay which the player can manipulate. ---- ==Examples== ===Strong Examples=== ====Legend of Zelda: Majora's Mask==== In the Legend of Zelda: Majora's Mask the player must control time withing the game. You are allowed to flow back and forth through a period of three days. You are able to control the time of day as well as control what day you are on. Link is given a three day period of time in which he must save the world from a comet that is about to destroy the town. He must finish all of his quests before the third day and to do so the player must control the speed of the day, whether or not its day or night, and is able to travel back days in time. ====Prince of Persia: The Sands of Time==== In Prince of Persia: The Sands of Time, the player can reverse, slow, or stop time to allow him to improve or retry his actions. ====Viewtiful Joe==== In the game, Joe is capable of slowing time in a "bullet time" style, enabling him to move much more quickly than his opponents, thus making it vastly easier to defeat the never-ending waves of enemies, particularly near end-game in which the enemies, the final bosses included, are geared toward a necessary kick into the slowed-down time if the player is to defeat him. ===Weak Examples=== ====Chrono Cross==== Chrono Cross (Squaresoft, 2000) Once the player has cleared the game once, they gain a special item that allows them to speed up and slow down time in the game by holding the left or right sholder buttons. This is a weak example because it is merely a tool so that it would be easier for players to reach multiple endings during their subsequent playthroughs. Also, it has nothing to do with the game's narrative. ====Legend of Zelda: Ocarina of Time==== The player is allowed to pull a sword from the temple of time which allows him to traverse between his young self and adult self, however, this is just a way to transfer between two versions of the level. True, one affects the other as in the adult world actions you take as a child show up, but you are not really controlling the time change, you simply decide which of Links worlds you want to play in or need to be in to complete a goal. You "time warp" but do not really go anywhere, time is not sped up or slowed down, it is simply reversed or forwarded to specific points and the rest of the game play does not involve shifting time, it is only done once at a specific place. ==Game Ontology Relations== ===Parent=== *[[Entity Manipulation]] ===Children=== *[[To Start Time]] *[[To Pause Time]] *[[To Rewind Time]] *[[To Fast Forward Time]] *[[To Accelerate Time]] *[[To Decelerate Time]] *[[To Localize Time]] aa95671e0fc8a8d422e90e49cce9b7e27baa3c64 0 89 89 2008-12-18T20:47:59Z Jp 0 11 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Entity Manipulation]] Entities have the ability to change their location. Players can input movement commands in a variety of ways. Often, it is directly mapped onto an input device where there is a one-to-one mapping between the player input and how the player-controlled entity moves. Another common way to input movement is through a point-and-click interface. In such an interface, the player specifies where the entity should traverse towards. The entity uses path-finding techniques to discern the best path to traverse. Entities controlled by an artificial intelligence usually use a similar path-finding technique to move to their location goal. There are many reasons to change location. Often, the entity may need to change their location in order to reach a location goal. In this case, the new location is the motivation behind the decision to change location. Other times, the previous location may be detrimental to the player, and the goal of leaving a bad location is the motivation behind the decision to move. There are many other reasons to change location, each with a specific goal in mind. Some entities move without a goal. In these cases, the entities are not making any decisions (and are not agents). Instead, they move because the rules of the world dictate that they move. Most of the time, their movement is highly predictable and patterned, or completely random and erratic. Sometimes, movement may appear random at first, but after careful study (or a look into the code), patterns or intention in the movement will appear. Agent movement can also be dictated by the game or game world. In many shooters, the player moves along a "rail" through a level. Many times, they have some freedom of movement along the rail. In the game 1942, the player-controlled entity has freedom of movement within the current screen space, but the screen space is constantly moving over a terrain. In Panzer Dragoon Orta, the player's progression through a level is forced along a rail, but the entity can move along two other axes to avoid enemy fire. In other cases, the agent may have complete control over movement until they use a specific ability. For example, an agent may choose to jump, and once airborn, they have no control over the trajectory of the jump. Games can either give an agent complete control over movement, partial control, or no control. Finally, many games offer the possibility of altering certain attributes of movement. For example, some first person shooters such as Half-Life 2 allow the player to "sprint", thus enabling him to move faster than normal for a limited amount of time. In other games, such as racing games, managing the speed and acceleration is a central aspect of gameplay with players having to know when to slow down, speed up, etc. Many older console games like Donkey Kong Country featured a "run key" that would allow the player-controlled character to move faster than usual. ==Examples== ===Strong Examples=== ====Pac-Man==== In Pac-man, the player controls the movement of Pac-man by pointing the joystick in the direction the player wants him to go. Pac-man will continue to move in that direction until he collides with another entity, or until the player changes the direction. ====Space Invaders==== In Space Invaders, the aliens move along a predetermined path. They continue to move on this path until they are removed. ====Diablo==== In Diablo, players use a mouse cursor to point-and-click on a location to which they wish their player-controlled entity to move. The game uses path-finding techniques to automatically move the player-controlled entity to that location. ===Weak Examples=== ====Doom==== In Doom, the player often finds buttons or switches when navigating a level. These buttons can trigger movement in the level's architecture, for instance doors, walls, and platforms. Particular to this example is the notion of the elevator, which through its own movement causes the player character to move vertically and reach different height levels (a situation over which the player has little control). ---- ==Game Ontology Relations== ====Parent==== *[[Entity Manipulation]] ---- ====Children==== *[[To Evade]] *[[To Teleport]] *[[To Traverse]] *[[To Visit]] 07ce40843223b4c277f41b0cb254ce05dcd0d1ac 0 90 90 2009-12-11T21:49:54Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Entity Manipulation]] Entities can own other game entities. Ownership does not carry any inherent meaning, other than the fact that one entity is tied to another. Changes in ownership can not be initiated by the owned entity. Ownership can change the attributes or abilities of either the owned or owning entity. Ownership can be used to measure performance, either positive or negative. Ownership is never permanent; the possibility of losing ownership separates ownership from an inherent attribute or ability of an entity. Ownership of an entity can change in variety of ways, including voluntary and involuntary changes of ownership. It is important to note the difference between owning an entity, and using an entity. For example, in Super Mario Bros, when Mario collides with a mushroom, the mushroom is immediately used and removed from the game world. Mario never owns the mushroom. ==Examples== ===Strong Examples=== ====Persona: Revelations==== In Persona, your party has an inventory where purchased and obtained items are listed. These items are owned by the characters and can be consumed or equipped. Persona is a strong example of entities "owning" other entities. ====Rise of Nations==== In Rise of Nations, players own cities. Cities owned by a player affect the player's resource production and area of influence. Generally, the more cities a player owns, the better the player can perform. More cities also expand a player's territory. The size of territory can be important, as this can be a possible win condition. This is a strong example because, unlike other real-time strategy games, in RoN, ownership of cities can change hands! (usually, an enemy would have to destroy a city) ====Super Mario World==== In Super Mario World, in some states Mario can collect mushrooms (or fire flowers or feathers) to use later. In this case, Mario owns these entities to use at the discretion of the player. See also [[To Possess]] for a strong example of a more specific type of ownership in Super Mario World. ====Sonic The Hedgehog==== In Sonic the Hedgehog, Sonic collects rings throughout the game which then relate to his overall health and his vulnerability. He owns the rings in the sense that if he doesn't have any he can die more quickly. The rings are not permanent and can be lost if he is hit by an opponent or runs into spikes or another such obstacle. Therefore, Sonic owns the rings but can involuntarily lose his ownership. ====Monopoly==== In Monopoly, the properties on the board are purchased by players, who then own them. The ownership of properties can be forfeited or exchanged. ====Second Life==== Second Life is an interesting example because the Ownership extends to the real world in addition to the gameworld. In Second Life, players own the 3-dimensional objects and code they produce, such as houses, vehicles, and furniture. Players who did not produce the object can only own rights the producer or intermediary is willing to sell. Given a set of rights, sellers control how objects are exchanged in the future. Producers begin with every available right to the objects they produce. They control whether these virtual objects can be [http://secondlife.com/knowledgebase/article.php?id=173 copied or transfered] by buyers. If an object cannot be transferred, then it cannot be sold. They can also choose to [http://secondlife.com/knowledgebase/article.php?id=162 sell the original object or a copy of the object]. Sellers can only sell a right to an object if they own it. For example, if a player bought a No-Copy object, they cannot sell the object as a Copy object. To purchase objects, players must first purchase Lindens, in-game currency, using First Life money (such as American dollars). Players can own virtual objects, but LindenLabs owns the environment which enable these virtual objects. ====Elder Scrolls IV: Oblivion==== The world of Oblivion has tens of thousands of individual object that can be picked up, bought, sold, stolen, or captured. Some items are interactive and very useful, such as weapons, repair hammers, potions and potion ingredients, keys and lockpicks, etc. Others just have decorative or monetary value, such as rings, golden nuggets, silverware, etc. Almost anything can be picked up and used, and since maximum amount of things that can be carried is realistically limited by weight, player often has to make tough choices and throw away some items when he or she becomes overly encumbered. ====World Of Warcraft==== Building off the above entry, World Of Warcraft (WoW) has ten's of thousands of items. Weapons, potions, herbs, gems, armor, pets, all of these things can add to the character when used. In WoW unlike Oblivion, the amount of items your limited to is a combination of spaces in your bank and in your bags allowing for the posession of several hundred items at a time especially if you use a bank alt. ===Weak Examples=== ====Counter-Strike==== In this game, the player must buy his weapon at the beginning of the round. The weapons that you purchase are yours for as long as you are alive. Once the player dies his weapon is then left on the ground for another player to pick up and use. ====Silent Hill==== In Silent Hill, the main character must not only defend himself from all the demons, but protect a mysterious girl as well. And yet her movement is so slow that it impedes the likely success that the player will be able to survive. But it appears she is necessary in order to stay in the game. ====Ico==== In Ico, the player character must protect a girl called Yorda. While the player only directly controls Ico, his actions are very closely tied to leading, guiding, and protecting Yorda. Once could argue that Ico, in effect, owns Yorda because of the way they are tied to each other. ====Halo 2==== In the game Halo 2 for the Xbox and the PC, players can gain control of various guns and weapons through a game. However, players can steal guns from the deceased and can also pick up their ammo and grenades. The player is also limited in the number of weapons he can own at any given moment. ====Crash Bandicoot==== In all of Crash Bandicoot, along with going around and collecting those purple crystals, Crash always ends up breaking boxes which contain wumpa fruits, and by obtaining one hundred, the player will gain a new life. However, Crash does not need to pick these items up, the player must choose whether or not to pick these up as perhaps a boulder is coming really fast or a wumpa fruit is right next to a TNT box. ====F.E.A.R. (First Encounter Assault Recon)==== In the Game F.E.A.R. a player starts out the game with only a hand gun and has the ability to pick up new found weapons either from the armories or from the deceased. But if the player was to run out of ammo he would lose the possession of the weapon. Also in the game the player is limited to the number of weapons and ammo he can posses. ==Parent== *[[Entity Manipulation]] ==Children== *[[To Capture]] *[[To Exchange]] *[[To Possess]] 263b2d0b776151f08af01d81fccfef6b54e633da 0 91 268 91 2015-07-27T23:30:03Z Jzagal 2 wikitext text/x-wiki {{proposal}} [[Category:Proposal]] [[Category:Ontology]][[Category:Entity Manipulation]] To pause time within a gameworld is to remove time from an active state effectively placing the gameworld in a stasis state. Pausing time occurs with distinct variations. ==Parent== *[[To Manipulate Time]] ==Children== *[[To Pause Time with Gameworld Agency]] *[[To Pause Time without Gameworld Agency]] 0ab0159147ac9f301fc70b323636672147dcccc2 91 2008-12-18T20:48:01Z Jp 0 5 revision(s) wikitext text/x-wiki {{proposal}} [[Category:Ontology]][[Category:Entity Manipulation]] To pause time within a gameworld is to remove time from an active state effectively placing the gameworld in a stasis state. Pausing time occurs with distinct variations. ==Parent== *[[To Manipulate Time]] ==Children== *[[To Pause Time with Gameworld Agency]] *[[To Pause Time without Gameworld Agency]] c144b2f990a2b5155101eef5324f967f479f91e7 0 92 269 92 2015-07-27T23:30:20Z Jzagal 2 wikitext text/x-wiki {{proposal}} [[Category:Proposal]] [[Category:Ontology]][[Category:Entity Manipulation]] Pausing with gameworld agency occurs when gameworld time has been completely stopped, but the player maintains some means of enacting change within the gameworld. This is often in the form of equipping items or configuring menus. Examples: Kingdom Hearts, Resident Evil ==Examples== ===Strong Examples=== ====Okami==== In Okami, the player may pause the gameworld and use the “astral brush” to compose special moves. When paused, the gameworld is rendered as if it was painted on a scroll to enforce the idea that the player is marking on a static depiction of the gameworld. ==Parent== *[[To Pause Time]] 9a507bc4f5cbf419c5b084e54f0f9badba51ec2f 92 2009-08-15T15:31:00Z Jp 0 wikitext text/x-wiki {{proposal}} [[Category:Ontology]][[Category:Entity Manipulation]] Pausing with gameworld agency occurs when gameworld time has been completely stopped, but the player maintains some means of enacting change within the gameworld. This is often in the form of equipping items or configuring menus. Examples: Kingdom Hearts, Resident Evil ==Examples== ===Strong Examples=== ====Okami==== In Okami, the player may pause the gameworld and use the “astral brush” to compose special moves. When paused, the gameworld is rendered as if it was painted on a scroll to enforce the idea that the player is marking on a static depiction of the gameworld. ==Parent== *[[To Pause Time]] 435c2b549338d464ba22f0802278f567558212cc 0 93 270 93 2015-07-27T23:30:40Z Jzagal 2 wikitext text/x-wiki {{proposal}} [[Category:Proposal]] [[Category:Ontology]][[Category:Entity Manipulation]] Pausing without gameworld agency occurs when gameworld time has been completely stopped, and the player is totally unable to enact change in the gameworld. ==Parent== *[[To Pause Time]] ==Children== *[[To Save]] ba196f2056d44d311945ec66b585242003b2dde2 93 2008-12-18T20:48:02Z Jp 0 3 revision(s) wikitext text/x-wiki {{proposal}} [[Category:Ontology]][[Category:Entity Manipulation]] Pausing without gameworld agency occurs when gameworld time has been completely stopped, and the player is totally unable to enact change in the gameworld. ==Parent== *[[To Pause Time]] ==Children== *[[To Save]] 20a7baa7701ea459028cb36dab034e4fbbb95d23 0 94 94 2009-08-19T22:19:13Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Entity Manipulation]] Possession is a more specific type of ownership. An entity (the possessor) possess another entity when the possessor has the entity in its inventory. Possession is a persistant action that does not require triggering. Instead, entities begin to possess other entities as soon as they collect them, and continue possessing them until they are released. Possession implies ownership over the possessed entity. ==Examples== ===Strong Examples=== ====Diablo==== In Diablo, player-controlled entities possess many items at a given time. Often, they must possess special items related to a quest in order to complete their quest. ====Super Mario World==== In Super Mario World, there is a character called Yoshi which Mario can ride. When mounted, Mario is in possession of Yoshi, with controlling Mario becoming the equivalent of moving Yoshi. When riding Yoshi, Mario is granted extra abilities. ====Lord of the Rings: Battle for Middle-Earth 2==== In Lord of the Rings: Battle for Middle-Earth 2, players can find and possess the One Ring; if a unit carrying the ring returns to the Fortress, it will allow them to summon either Sauron or Galadriel. ==Parent== *[[To Own]] ---- ==Children== *[[To Collect]] *[[To Release]] f1e6d16ff8a289b375612945e5b4b32b3e9d5b58 0 95 95 2008-12-18T20:48:02Z Jp 0 2 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Entity Manipulation]] Entities release other entities by removing them from their inventory without removing them from the game world. The most common form of releasing is a simple drop, where the released entity relocates itself in the game world near the entity that dropped it. After being released, the entity could be collected by another entity, depending on the state of the entity. Some entities are released when they are used, whereas some are completely removed from the game world. '''Strong Example''' In Diablo, player-controlled entities can release items from their inventory to make room for other items. The released items are relocated in the game world next to the player-controlled entity. The player-controlled entity can re-collect any items it releases. '''Weak Example''' In Doom, the player-controlled entity releases bullets by shooting its weapons. The bullets are used at that point, but the final effect is not known until the bullet collides with another entity. The bullet cannot be re-collected, and is removed from the game world upon collision. '''Counter Example''' In Diablo, player-controlled entities can use potions to regain health or mana. Upon using a potion, the potion is removed from the game world. The potion is not released, as it is not relocated anywhere in the game world. ---- ====Parent==== *[[To Possess]] ---- ====Children==== None c596f42c44d32466228c163d07ff5706ef19f657 0 96 96 2009-08-19T22:14:51Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Entity Manipulation]] Entities have the ability to destroy other entities in the game world. When an entity is removed, it ceases to exist in the game world, but the removal or absence of the entity may affect the game world. Removal is the opposite of creation. Collision (two or more entities occupying the same space) is the most common way entities can remove each other in games. In some games, entities have the equal chance to remove each other. In these cases, simple collision does not cause removal. The entities must be in specific states (ie, Double Dragon, one fighter must be punching another fighter), or the collision is mediated through a third entity (ie, Doom II, one player-controlled entity must shoot the other player-controlled entity). Collision does not imply removal, nor does removal imply collision. Removal can also occur simply based on the decision of an agent. The most common form of this is the use of an item. For example, in Diablo II, when a player-controlled agent uses a red potion, the red potion is removed from the world. The player simple chooses to use the potion; no other activity is required. At times entities cease to exist in the game world without any other entity removing that entity. In this case, it is not entity manipulation, but a rule that determines that the entity will cease to exist. For example, a power up may appear in the game world for a certain amount of time. When that time is up, the power up disappears and can no longer be collected. This is not a case of removal, but the power up ceases to exist based on a world rule. ==Examples== ===Strong Examples=== ====Galaga==== In Galaga, if the player-controlled entity collides with a bullet or a non-player entity, the player-controlled entity is removed. If a non-player entity collides with a bullet shot by the player-controlled entity or collides with the player-controlled entity, the non-player entity will be removed. ====Super Mario Bros.==== In Super Mario Bros, when Mario uses a mushroom (by colliding with it), the mushroom is removed. When Mario collides with a coin, the coin is removed. When Mario jumps on the head of some of the non-player entities, the non-player entities are removed. If Mario otherwise collides with those non-player entities, Mario is removed. Also, if Mario does not remove the enemy properly, i.e. lets the bombs fall through holes instead of blowing them up, or just jumps on the turtles instead of disposing of the shells, they are not removed from the world permanently and come back if Mario revisits the area where he found them first. In order to remove certain enemies permanently, a specific action must be taken. ====Sim City==== In Sim City, when the player bulldozes a road, electric line, building, zone, or other feature of the city, that entity is removed. Tornadoes, fires, and other natural disasters also remove entities, often by lingering in the same location as the given entity for a sufficient period of time. ===Weak Examples=== ====Katamary Damacy==== In Katamary Damacy and its sequel, We Heart Katamari, when the player rolls a large enough Katamari (giant sticky ball) over an item, the item is removed from the world and added to the katamari collection. Often, the item is still visible on the Katamari. This is different from collection because score is awarded by removing items from the scene. Once the item is removed it usually cannot be picked up again and remains in the katamari ball until the end of the level. However, if the player bumps the katamari, the item may be knocked loose and become avaialable for "pickup" again. The player has no real control, however, over which items are knocked loose from the Katamari. ---- ==Game Ontology Relations== ====Parent==== *[[Entity Manipulation]] ---- ====Children==== None 9473bda26a12cf78b83dedd6ead430323a1e99c0 0 97 271 97 2015-07-27T23:31:47Z Jzagal 2 wikitext text/x-wiki {{proposal}} [[Category:Proposal]] [[Category:Ontology]][[Category:Entity Manipulation]] Rewinding time occurs when all gameworld time is uniformly reversed. While a rewind is in effect, a player only has agency over the rewinding action. Examples: Prince of Persia: The Sands of Time ==Examples== ===Strong Example=== In The Last Express, the player can arbitrarily rewind time back to the beginning of the game. ==Parent== *[[To Manipulate Time]] ==Children== *[[To Undo Time]] 99e384f51b01a852c0fd64f1fbe8d3e36a60f0f7 97 2008-12-18T20:48:03Z Jp 0 6 revision(s) wikitext text/x-wiki {{proposal}} [[Category:Ontology]][[Category:Entity Manipulation]] Rewinding time occurs when all gameworld time is uniformly reversed. While a rewind is in effect, a player only has agency over the rewinding action. Examples: Prince of Persia: The Sands of Time ==Examples== ===Strong Example=== In The Last Express, the player can arbitrarily rewind time back to the beginning of the game. ==Parent== *[[To Manipulate Time]] ==Children== *[[To Undo Time]] 751290210a46b23430f079470a2fa00955af6752 0 98 98 2008-12-18T20:48:03Z Jp 0 12 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Entity Manipulation]] A rotated entity changes its directional attribute. This action assumes that the rotated entity has a directional attribute. The degree of rotation varies from game to game. In some games, entities rotate automatically when they move in another direction. In some games, the entity may never change its location, and can only rotate. A direction attribute is necessary for entities that have distinct forward and backward motions, or entities that can only perform certain abilities in the direction they are facing (ie, shooting). Sometimes managing the directional attribute is part of the challenge of the game (ie, racing games). ==Examples== ===Strong Examples=== ====Asteroids==== In Asteroids, the player-controlled entity can rotate in order to fire in another direction. It also allows the player-controlled entity to apply thrust in another direction, changing its inertia. The inertia of the player-controlled entity is what causes it to move. ====Bust-A-Move==== In Bust-a-Move, the arrow at the bottom of the puzzle can be rotated. The rotation allows for targeting of where to shoot the next ball. ====LocoRoco==== In the PSP game LocoRoco the player has to maneuver an entity around a 2D area. However, the player cannot directly control the move the entity (or entities) he controls (other than jumping). Instead, the player must rotate the world, causing the entity to slide down as if affected by gravity. ====We Love Katamari==== In We Love Katamari, the player controls the Prince, a tiny creature who rolls around a ball called a Katamari. The ball sticks to any small enough item it touches, and the player's goal is to roll the ball to pick up as much stuff as quickly as possible. The rotation of the ball is really the only activity in I Love Katamari, and for this reason it is a strong example. ===Weak Example=== ====Mario 64==== In Mario 64, the floating camera can be rotated. While this allows for an alteration of view to assist in game play, it is not required. ====Banjo Kazooie==== In Banjo Kazooie, the camera rotation is fairly slow and not very responsive. However, it is important in that the player needs to know what's going on in the direction they are facing. ====Gran Turismo==== In Gran Turismo, the player-controlled car can be rotated by turning the steering wheel. As expected with cars, the rotation cannot occur without movement. We consider this a weak example because the rotation isn't controlled directly, rather it is the result of driving at a high speed and turning sharply. ---- ==Parent== *[[Entity Manipulation]] ---- ==Children== None 82436317eaf4b166eac1c056616b6c736ef468da 0 99 272 99 2015-07-27T23:32:17Z Jzagal 2 wikitext text/x-wiki {{proposal}} [[Category:Proposal]] [[Category:Ontology]][[Category:Entity Manipulation]] A save is when a gameworld is reentered at the exact temporal point that it was exited. While there are many design strategies that determine under which conditions a game may be saved, and what state the game returns to when a save file is opened, the act of saving a game is essentially creating a recallable index of a pause without gameworld agency. ==Parent== *[[To Pause Time without Gameworld Agency]] da3df25b3b619fea372eef5a0c92198c05bb2f87 99 2009-05-21T17:21:20Z Jp 0 Reverted edits by [[Special:Contributions/PasriCvarl|PasriCvarl]] ([[User talk:PasriCvarl|Talk]]); changed back to last version by [[User:Jp|Jp]] wikitext text/x-wiki {{proposal}} [[Category:Ontology]][[Category:Entity Manipulation]] A save is when a gameworld is reentered at the exact temporal point that it was exited. While there are many design strategies that determine under which conditions a game may be saved, and what state the game returns to when a save file is opened, the act of saving a game is essentially creating a recallable index of a pause without gameworld agency. ==Parent== *[[To Pause Time without Gameworld Agency]] 22d56cff48a217006fd1bb9927509a63f4203ec8 0 100 100 2008-12-18T20:48:03Z Jp 0 9 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Entity Manipulation]] Selecting an entity, or entities, is the action of choosing it from a set of entities. Only agents can select entities. Selections can be permanent choices which cannot be reversed, such as a player selecting a character to serve as the his avatar. Selections can also have temporary effects and can be re-choosen, such as selecting a weapon to use. Selection is often performed as a precursor to another action. Most actions require an entity on which to act. Selection can be used to choose which entity to act on. In some cases, selection of an entity does not guarantee that the entity will be acted on. For example, in shooters, a shooting entity will select a target, but will not necessarily hit the choosen target. ==Examples== ===Strong Examples=== ====Starcraft==== In Starcraft, players will select an entity to which they will give an order. Players also select buildings to build, and resources to gather. ====Super Mario Brothers 2==== In Super Mario Brothers 2, players select the avatar to use for just one level. This selection will affect the gameplay. ===Weak Examples=== ====Doom==== In Doom, player-controlled entities select a target by aiming the crosshairs at them. They shoot in the direction they have selected, which may or may not hit the intended target. ====Counter Strike: Source==== In Counter Strike: Source, in a normal game a player must join the terrorist or counter-terrorist side. This affects the weapons available to the player. The player must also pick an avatar to represent them, but that's just aesthetics. Some servers might automatically switch a player to another team if the teams become overwhelmingly unbalanced. Crosshairs are also used to try to pick out an enemy as a target and also to hit higher damage areas like the head. ---- ==Game Ontology Relations== ====Parent==== *[[Entity Manipulation]] ---- ====Children==== *[[To Target]] 929dfa1954da6c7de792ef6b3752a25d9376fb15 0 101 101 2008-12-18T20:48:04Z Jp 0 14 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Entity Manipulation]] When an entity (the shooter) shoots, it performs multiple actions. The primary action is that the shooter releases a projectile object. The projectile object moves along a trajectory. This trajectory is often determined by the shooters targeting. However, in some games such as Artillery Duel (and more recently, Worms), entities shoot by determining an angle to shoot along, and a power level that determines the force behind the projectile's movement. Also, entities that are not agents often shoot without any sort of targeting. The purpose of shooting is usually to make the projectile collide with some other entity. The result of this collision varies from game to game. The collision could remove the shot entity. The shooter could capture the entity that collides with the projectile. A collision could decrease the value of an attribute of the shot entity, such as decrease its health attribute (ie, many first-person shooters). ==Examples== ===Strong Examples=== ====Galaga==== In Galaga, the player-controlled entity can shoot bullets. The player-controlled entity cannot shoot another bullet if the last bullet it shot is still on the screen. If the bullet collides with a non-player entity, the bullet and the non-player entity are removed. The player-controlled entity can aim its shot by moving horizontally. ====Artillery Duel==== In Artillery Duel, the player-controlled entity can adjust it's angle and power in order to aim its shot. Once set, the player-controlled entity can shoot a bullet. The trajectory of the bullet is determined by the angle and the power as well as the wind speed and direction. If the bullet collides with another player-controlled entity, the shooting entity scores a point. ====Halo==== In Halo, Master Chief must take gravity and distance into consideration when throwing a granade. Although it's different than shooting, the player still launches a projectile. When the granade reaches its destination it explodes. ===Weak Examples=== ====Street Fighter==== In Street Fighter a player may invoke a special punch that acts like a projectile of energy. This is a weak example for several reasons: 1, there is no targeting, except for facing the opponents direction, 2, there is no physical projectile; in the game it is considered a special punch, 3, the special punch does not kill or capture the opponent, it only lowers its health. ====Kirby's Adventure==== In Kirby's Adventure, Kirby is able to gain various types of projectile abilities by eating certain types of enemies (Cutter for example). However there is no way to target an enemy or aim your projectiles at an enemy as you travel along the 2D level. Kirby is only able to shoot directly in front of him while he is on the ground. ===Super Mario Brothers=== In any of the Mario Brothers games when Mario shoots using the fire flower. Although there is no real aim and the trajectory remains the same no matter what movement Mario makes, if one of the fireballs touches and enemy, the enemy is removed from the game. This is considered a weak example because of the limitations the player has on aiming and trajectory of the fired projectile. ---- ==Parent== *[[Compound Action]] ---- ==Children== None f11ca2bcee5f7140f09ebacdb558a399ca56640c 0 102 273 102 2015-07-27T23:32:52Z Jzagal 2 wikitext text/x-wiki {{proposal}} [[Category:Proposal]] [[Category:Ontology]][[Category:Entity Manipulation]] To skip is a discrete form of To-Fast-forward where gameworld time is advanced by set and consistent unit. ==Examples== ===Strong Example=== In Quest for Glory II: Trial by Fire, the player can choose the amount of time the hero rests in the katta's inn. This amount of time can be a couple hours, to a couple of days. Even after sleeping for weeks at a time, the player must only wait a couple of seconds for the game's time to pass. ===Weak Example=== In The Elder Scrolls IV: Oblivion, you can press "T" at any time (except while in combat or in dangerous areas) to bring up a menu for how much time you want to wait for. After specifying how many hours you wish to wait for, the time passes by in a matter of seconds. You can also skip time by walking to a bed and pressing the use button (enter?), but you have no control over how long you rest for. ==Parent== *[[To Fast Forward Time]] ==Children== *None 36d7b256c452feb612dc731c6f66b6635de354c6 102 2008-12-18T20:48:04Z Jp 0 9 revision(s) wikitext text/x-wiki {{proposal}} [[Category:Ontology]][[Category:Entity Manipulation]] To skip is a discrete form of To-Fast-forward where gameworld time is advanced by set and consistent unit. ==Examples== ===Strong Example=== In Quest for Glory II: Trial by Fire, the player can choose the amount of time the hero rests in the katta's inn. This amount of time can be a couple hours, to a couple of days. Even after sleeping for weeks at a time, the player must only wait a couple of seconds for the game's time to pass. ===Weak Example=== In The Elder Scrolls IV: Oblivion, you can press "T" at any time (except while in combat or in dangerous areas) to bring up a menu for how much time you want to wait for. After specifying how many hours you wish to wait for, the time passes by in a matter of seconds. You can also skip time by walking to a bed and pressing the use button (enter?), but you have no control over how long you rest for. ==Parent== *[[To Fast Forward Time]] ==Children== *None abdff319bcf7b6479113b919c814aec7525cc14a 0 103 274 103 2015-07-27T23:33:25Z Jzagal 2 wikitext text/x-wiki {{proposal}} [[Category:Proposal]] [[Category:Ontology]][[Category:Entity Manipulation]] Starting time occurs when the player is able to set gameworld time into existence from an otherwise inactive state. Examples: Chu Chu Rocket ==Parent== *[[To Manipulate Time]] e66264e6a882f5193b8f519a2433ad95b2673f65 103 2008-12-18T20:48:04Z Jp 0 6 revision(s) wikitext text/x-wiki {{proposal}} [[Category:Ontology]][[Category:Entity Manipulation]] Starting time occurs when the player is able to set gameworld time into existence from an otherwise inactive state. Examples: Chu Chu Rocket ==Parent== *[[To Manipulate Time]] 3fbc7e974e77c27ca87e1f27a632d0d37b62de39 0 104 104 2008-12-18T20:48:04Z Jp 0 5 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Entity Manipulation]] Targeting is a specific type of selection. Entities will target other entities with the intention of performing an action on them. Sometime the action in guaranteed, and will be performed immediately. Other times, the action may miss the intended target. ==Examples== '''Strong Example''' In Diablo, the player-controlled entity will target an entity to attack it. A percent chance will determine whether the attack actually does any damage to the targeted entity. '''Strong Example''' In Doom, player-controlled entities target other entities by aiming the crosshairs at them. They shoot in the direction they have selected, which may or may not hit the intended target. '''Weak Example''' Viewtiful Joe. Only during Slow-mo periods do enemies become targeted (indicated by small crosshairs) and it does not necessarily guide Joe toward the enemy. It serves primarily as a means of identification during the time as to ensure maximum efficiency of the time used during slow-mo. '''Weak Example''' In Mario 64, the player can move Mario into a coin which if performed correctly will select the coin and increase the players score. ---- ==Parent== *[[To Select]] ---- ==Children== None 83ce5beaff14188ed0414f666d4a7a942b8e623e 0 105 105 2008-12-18T20:48:05Z Jp 0 8 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Entity Manipulation]] The ability to teleport allows an entity to move to a nonadjacent location, skipping over locations in between. While this is most often used by agents with the goal of reaching another location, it can also be used by entities without goals. Teleportation is not often used as a game goal as it offers no challenge to the player. Instead, when it's based on the decision of an entity, it is used as a benefit to the entity allowing it to avoid potentially dangerous locations in between its current location and its location goal. It can also be used to create distance more quickly between the agent and a potentially dangerous entity. While an entity may be able to reach its final destination by teleporting, games do not allow player-controlled entities to teleport from their starting location to the location goal as it also offers no challenge to the player. ====Strong Example==== In Diablo II, the player-controlled sorceress can have the ability to teleport from one location to another. This allows her to escape situations where she is surrounded by enemies, or to move quickly to locations to which traversing would require a longer route. ====Weak Example==== In Mega Man (all versions, aside from Zero series), the player chooses a level in which to play from a stage selection screen. The Mega Man avatar then teleports from a (supposed) base of operations to the selected level. Upon completing the level, the avatar then teleports back to the stage selection screen. Such teleportation is necessary for completion of game goals and indirectly controlled by the player's actions. This is a weak example because the teleportation is representational (ie, the player sees a visual enactment of teleportation) and also because it transcends different levels. It is also arguable that the stage selection screen is actually a playable location, serving more as a menu from which destinations are chosen. ====Strong Example==== In Legend of Zelda (many versions), the player has the option to teleport to the entrance of a dungeon if they are hopelessly lost or do not wish to traverse a completed (non-challenging) dungeon. This ability is not required to accomplish game goals. In Legend of Zelda: A Link to the Past specifically, the player acquires an item (the magic mirror) which allows him to "teleport" to and from the Dark World, a second area in the game which must be traversed in order to accomplish the game's goals normally (game code exploits are ignored here). The teleportation in this case is somewhat of a non-standard movement "in" and "out" of the Dark World because Link's position in the destination world is related to his position in the source world, since the movement is a "dimensional teleport." ====Weak Example==== In Super Mario Brothers, the player-controlled entity "teleports" from one place in a level to another by going down a green pipe. This is a weak example because the entity moves through a seperate space (usually a room) in order to teleport. The teleportation does not happen instantaneously. However, this movement does move the player-controlled entity to a nonadjacent location. ---- ====Parent==== *[[To Move]] ---- ====Children==== None 41373bdee527b4c14dbeab4406a3ff651ff0c89a 0 106 106 2009-08-15T15:28:25Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Entity Manipulation]] Transfer is a specific type of exchange where an entity or entities are exchanged in return for zero value. Transfer is most common in multiplayer team games where players will transfer items to their teammates for the benefit of the team. ===Examples=== '''Strong Example''' In Neverwinter Nights, a player-controlled entity may transfer an item to another player-controlled entity without receiving anything in return. This often occurs if the entity giving the item cannot use the item, but the entity receiving it can use it. Additionally, players may use this as a strategy to allow the entity to use an item that would benefit from it the most. '''Strong Example''' In Warcraft III, players can transfer resources (gold or lumber) to an allied player. The giving player receives nothing in return. This is often used if a player has an abundance of resources, and his ally needs more. ---- ====Parent==== *[[To Exchange]] ---- ====Children==== None ba96d7a083b8b171df1e39d486c9f44418d02ad1 0 107 107 2008-12-18T20:48:05Z Jp 0 5 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Entity Manipulation]] Entities can transport entities from one location to another. The transporting entity (the transporter) must possess the entity being transported (the trasportee). As the transporter moves, the transportee moves with it. Transporting is most often used when one entity (Entity A) does not have the means to move to a desired location. If another entity (Entity B) has the ability to move to that location, and has the ability to possess Entity A, then Entity B can transport Entity A to that location. This manipulation is common in role-playing games where quests often require the player-controlled entity to seek out and return an item to someone. Upon successfully transporting the item to that person, the player-controlled entity is rewarded. This is also used in strategy games where some units may not be able to traverse certain terrain, like water. Special units are designed that have the ability to traverse that terrain and carry other units as well. This unit are commonly called "transports." ==Examples== '''Strong Example''' In Diablo II, the player-controlled entity is required to find the Horadric Malus and return it to Charsi (a non-player entity). Upon successfully transporting the Horadric to Charsi, the player-controlled entity is rewarded with the option of improving one of his items. '''Strong Example''' In Starcraft, each race has a transport ship (Dropship, Overlord, and Shuttle) that allows them to fly ground units. The benefit of this is that ground units do not have to move around obstacles or use ramps to move onto cliffs. While being transported, the ground units cannot do anything until they are unloaded from the transports. '''Strong Example''' In Zelda: Wind Waker, the player-controlled entity can lift and carry some other entities. This is necessary to solve puzzles that require entities to be placed in certain locations. By lifting and carrying the objects to another location, the player-controlled entity is transporting them. '''Weak Example''' in Star Wars: Knights of the Old Republic, the player can ride shuttles and submersibles between certain levels and sub-levels. Additionally, in most places there is the option of teleporting back to the player's spacecraft, the Ebon Hawk. However, what makes this weak is that the destinations of the transports are fixed, and usually the transportation itself takes place in a cutscene, totally apart from the player's control. Also, the members of the player's party are interchangeable even after the transportation has occurred. For example, on the forest world of Kashyyyk, the player is transported from a high platform onto the forest floor, where Jolee Bindo, an ex-Jedi, is found and added to your party, requiring you to send one member back to the Ebon Hawk. ---- ==Parent== *[[Compound Action]] ---- ==Children== None cf506c481e75ef62a7fc643c5857459d7ca30177 0 108 108 2009-08-19T22:20:10Z Jp 0 wikitext text/x-wiki [[Category:Ontology]][[Category:Entity Manipulation]] Entities have the ability to change their location. Players can input movement commands in a variety of ways. Often, it is directly mapped onto an input device where there is a one-to-one mapping between the player input and how the player-controlled entity moves. Another common way to input movement is through a point-and-click interface. In such an interface, the player specifies where the entity should traverse towards. The entity uses path-finding techniques to discern the best path to traverse. Entities controlled by an artificial intelligence usually use a similar path-finding technique to move to their location goal. There are many reasons to change location. Often, the entity may need to change their location in order to reach a location goal. In this case, the new location is the motivation behind the decision to change location. Other times, the previous location may be detrimental to the player, and the goal of leaving a bad location is the motivation behind the decision to move. There are many other reasons to change location, each with a specific goal in mind. Some entities move without a goal. In these cases, the entities are not making any decisions (and are not agents). Instead, they move because the rules of the world dictate that they move. Most of the time, their movement is highly predictable and patterned, or completely random and erratic. Sometimes, movement may appear random at first, but after careful study (or a look into the code), patterns or intention in the movement will appear. Agent movement can also be dictated by the game or game world. In many shooters, the player moves along a "rail" through a level. Many times, they have some freedom of movement along the rail. In the game 1942, the player-controlled entity has freedom of movement within the current screen space, but the screen space is constantly moving over a terrain. In Panzer Dragoon Orta, the player's progression through a level is forced along a rail, but the entity can move along two other axes to avoid enemy fire. In other cases, the agent may have complete control over movement until they use a specific ability. For example, an agent may choose to jump, and once airborn, they have no control over the trajectory of the jump. Games can either give an agent complete control over movement, partial control, or no control. ==Examples== ===Strong Example=== ====Pac-Man==== In Pac-man, the player controls the movement of Pac-man by point the joystick in the direction he wants him to go. Pac-man will continue to move in that direction until he collides with another entity, or until the player changes the direction. ====Space Invaders==== In Space Invaders, the aliens move along a predetermined path. They continue to move on this path until they are removed. ====Diablo==== In Diablo, players use a mouse cursor to point-and-click on a location to which they wish their player-controlled entity to move. The game uses path-finding techniques to automatically move the player-controlled entity to that location. ---- ==Parent== *[[To Move]] ---- ==Children== None b609f804454a1f64bbad20a89bccd01923d77316 0 109 276 109 2015-07-27T23:34:38Z Jzagal 2 wikitext text/x-wiki {{proposal}} [[Category:Proposal]] [[Category:Ontology]][[Category:Entity Manipulation]] To Undo Time is a discrete form of To Rewind where gameworld time is advanced by set and consistent unit. ==Parent== *[[To Rewind Time]] 510973b4f1c6b093ccad90596eb2d19f03596d20 109 2009-05-22T17:11:40Z Jp 0 Reverted edits by [[Special:Contributions/AceltArele|AceltArele]] ([[User talk:AceltArele|Talk]]); changed back to last version by [[User:Jp|Jp]] wikitext text/x-wiki {{proposal}} [[Category:Ontology]][[Category:Entity Manipulation]] To Undo Time is a discrete form of To Rewind where gameworld time is advanced by set and consistent unit. ==Parent== *[[To Rewind Time]] a6187bb69b6f1aa1c98d6bcac7b4eb413b7789fa 0 110 110 2008-12-18T20:48:06Z Jp 0 2 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Entity Manipulation]] In some games, the goal is to visit various locations. The means of reaching these locations is not important; agents can use a variety of movements including traversal or teleportation. The order in which these locations are visit are also not important, although some locations might have to be visited before others can be. Visitation can either be nearly exhaustive (ie, Pac-man) or selective points (ie, the rivets in Donkey Kong) of the entire game space. Exhaustive, voluntary visitation is used to explore a given game space. While not required, many games encourage this approach by rewarding the player with special items for visiting places that are out of the path of the required game play. Some games require the player to visit only one location to accomplish an episodic goal. These games often require the player-controlled entity to traverse a space in between its starting location and the location goal. In some games, the exact path to the location goal is not important. For example in Super Mario Bros., it doesn't matter whether Mario stays above ground or takes the shortcuts through the underground in many levels. As long as the player successfully directs Mario to the end of the level, he has completed the episodic goal of visiting the location goal. However, in racing games on a loop track, the path taken is relevant, as the starting location and location goal are the same location. '''Strong Example''' In Super Mario Bros, Mario must visit the locations at the end of each level marked by a flag. In doing so, the level is completed. '''Strong Example''' In Team Fortress Classic, player-controlled entities must visit the location marked by a flag of the opposing team's color. This allows the entity to collect the flag. Once an entity possesses a flag, he must return it to the location where his own team's flag is when it is not captured. If his own teams' flag is present at that location, the team scores a point. ---- ====Parent==== *[[To Move]] ---- ====Children==== None 837c7f9b3e9c3d5fcf72693b4765ec142f9f40bc 0 50 275 50 2015-07-27T23:34:23Z Jzagal 2 wikitext text/x-wiki {{proposal}} [[Category:Proposal]] [[Category:Ontology]][[Category:Interface]] Touch-Sensitive Screens are screens capable of detecting user's pressure over its surface, usually made using his fingers or an appropriate stylus pen. ==Examples== ====Strong example==== The handheld system Nintendo DS features two screens. One of them (the lower one) is touch-sensitive. ==Relations with other elements of the Ontology== ====Parent==== *[[Input Devices]] ====Children==== *[[Stylus Pen]] f2a500ca021ebbb5ecfb43e52b1bb162bf3299ad 50 2012-10-03T17:28:53Z Jp 0 Reverted edits by [[Special:Contributions/Wilsoncaldwell|Wilsoncaldwell]] ([[User talk:Wilsoncaldwell|Talk]]); changed back to last version by [[User:Jp|Jp]] wikitext text/x-wiki {{proposal}}[[Category:Ontology]][[Category:Interface]] Touch-Sensitive Screens are screens capable of detecting user's pressure over its surface, usually made using his fingers or an appropriate stylus pen. ==Examples== ====Strong example==== The handheld system Nintendo DS features two screens. One of them (the lower one) is touch-sensitive. ==Relations with other elements of the Ontology== ====Parent==== *[[Input Devices]] ====Children==== *[[Stylus Pen]] e6b62bbcb6a23e2eb5cd47a914aac4afb99c4c33 0 51 51 2008-12-18T20:47:29Z Jp 0 2 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] A transitive relationship defines a one-way relationship between two or more entities. (Rollings and Adams 2003) For example, A can beat B, B can beat C and C cant beat anyone. (in other words, A can also beat C). Transitive relationships can be seen in many FPS games such as Quake (id_Software 1996) where each time a new weapon is found it does more damage than all the ones found previously. In general terms, games in which the players capabilities are improved, augmented or upgraded within the game makes use of transitive relationships. (Rollings and Adams 2003) ---- ====Parent==== *[[Rules Synergies]] ---- ====Children==== None ---- ====References==== Rollings, A. and E. Adams (2003). Andrew Rollings and Ernest Adams on Game Design. Indianapolis, IN, New Riders Publishing. 5317ff60c504e1945792ba5a9d7d15cc1fe884ec 0 52 52 2008-12-18T20:47:29Z Jp 0 4 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] The camera used to depict the game state moves with two degrees of freedom. That is, the camera can move up and down, left and right, and zoom in and out. Such cameras cannot tilt or pan like real world cameras, as they lack a real third dimension. (They have height and width, but no depth. Pivoting the camera on a point, like in a tilt or pan causes changes of camera angle that require three dimensions to represent properly.) '''Strong example''' Metroid [Nintendo, 1986] presents the game world to the player in two dimensions, the camera view following Samus as she moves through the play field. The camera moves on a two dimensional plane, up, down, left or right. '''Strong example''' While Double Dragon [Technos Japan, 1988] presents the game state using a two dimensional camera, though the gameplay takes place in three dimensions. The camera can move up, down, left or right, but never moves in or out along the game world's z axis. ---- ====Parent==== *[[Camera Dimensions]] ---- ====Children==== None ---- ====References==== Nintendo, developer (1986). Metroid. Nintendo, nintendo entertainment system edition. Technos Japan, developer (1988). Double Dragon. Tradewest, nintendo entertainment system edition. 2e31bf58cd39dbe2fafcc4ebd458b979a98cb42b 0 53 53 2008-12-18T20:47:29Z Jp 0 2 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] The game world is represented to the player visually using two dimensional graphics. The dimensionality of this representation is independent of the dimensionality of the game's world or gameplay. That is, a two dimensional camera view may be used to depict a game world with more or less than two dimensions. '''Strong example''' Metroid [Nintendo, 1986] presents the game world to the player in two dimensions, using flat graphics that have height and width, but no depth. ---- ====Parent==== *[[Camera Dimensions]] ---- ====Children==== None ---- ====References==== Nintendo, developer (1986). Metroid. Nintendo, nintendo entertainment system edition. 4e10d39c4f6d04df5df71ca34497e8f1a684b372 0 54 54 2008-12-18T20:47:30Z Jp 0 11 revision(s) wikitext text/x-wiki {{outofdate}} [[Category:Ontology]][[Category:Rules]] In some games, despite the existence of spatial relationships, it is unclear exactly what the degrees of freedom are available to the player. This is quite often seen in text-based adventures where the player types in commands that indicate the direction he wishes the character to travel. However, if the locations traveled to are mapped out, it is unclear if the character is traveling in any direction at all or if the commands typed in are being used as references and not real indicators. For example, a player may type exit and discover that he seems to be moving upwards. Immediately after that, typing down may not take the player to the same location. Undefined cardinalities of gameplay also occur when it is not clear how many axis of freedom of movement exist and whether or not they are actually orthogonal. For example, a game that uses north/south and east/west may not be 3-dimensional if use of up or down is mapped onto one of the other dimensions. ---- ====Parent==== *[[Cardinality of Gameplay]] ---- ====Children==== None 5387c807d4ed0ed44cb61abf68fb157e21e6007c 0 55 259 225 2015-07-24T18:41:33Z Jzagal 2 wikitext text/x-wiki {{outofdate}} [[Category:Outofdate]][[Category:Ontology]][[Category:Interface]] Many games, though they do have spatial relationships, are presented in such a way to the player as to describe a game world that is either physically impossible, illogical or simply incomplete. In other words, it is not possible for the player to determine the cardinality of the game world. This is often seen in text-based games that, though allowing the player to "move" using common spatial conventions such as north, south, east and west, fall into paradoxes where moving west and then moving east do not return the player to the same place. In these cases, the locations and their spatial relationship is ambiguous to the player. Another example can be seen in The Legend of Zelda: Oracle of Seasons and Links Awakening. At one point in the game the player has to navigate a maze. The maze is a series of "screens" that must be navigated in the correct order in order. For example, the player must go up, left, left, up, down and right. If the player goes up, left, left and then right he appears in the starting location. See also [[Cardinality of Gameplay]] ---- ====Parent==== *[[Cardinality Of Gameworld]] ---- ====Children==== None 18d7b1d954c0bccf6187ed3d00292d6db5435cf8 225 55 2015-07-20T16:37:04Z Jzagal 2 wikitext text/x-wiki [[Category:Outofdate]][[Category:Ontology]][[Category:Interface]] Many games, though they do have spatial relationships, are presented in such a way to the player as to describe a game world that is either physically impossible, illogical or simply incomplete. In other words, it is not possible for the player to determine the cardinality of the game world. This is often seen in text-based games that, though allowing the player to "move" using common spatial conventions such as north, south, east and west, fall into paradoxes where moving west and then moving east do not return the player to the same place. In these cases, the locations and their spatial relationship is ambiguous to the player. Another example can be seen in The Legend of Zelda: Oracle of Seasons and Links Awakening. At one point in the game the player has to navigate a maze. The maze is a series of "screens" that must be navigated in the correct order in order. For example, the player must go up, left, left, up, down and right. If the player goes up, left, left and then right he appears in the starting location. See also [[Cardinality of Gameplay]] ---- ====Parent==== *[[Cardinality Of Gameworld]] ---- ====Children==== None 375d4ac816f6144efd86ec0603014dda57dfaf23 55 2008-12-18T20:47:30Z Jp 0 3 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Many games, though they do have spatial relationships, are presented in such a way to the player as to describe a game world that is either physically impossible, illogical or simply incomplete. In other words, it is not possible for the player to determine the cardinality of the game world. This is often seen in text-based games that, though allowing the player to "move" using common spatial conventions such as north, south, east and west, fall into paradoxes where moving west and then moving east do not return the player to the same place. In these cases, the locations and their spatial relationship is ambiguous to the player. Another example can be seen in The Legend of Zelda: Oracle of Seasons and Links Awakening. At one point in the game the player has to navigate a maze. The maze is a series of "screens" that must be navigated in the correct order in order. For example, the player must go up, left, left, up, down and right. If the player goes up, left, left and then right he appears in the starting location. See also [[Cardinality of Gameplay]] ---- ====Parent==== *[[Cardinality Of Gameworld]] ---- ====Children==== None 8f675a68f844d9f4f739509f35886012b0629c9a 0 56 56 2008-12-18T20:47:30Z Jp 0 2 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Not used as commonly as video monitors (primarily due to cost issues), VR goggles are sometimes used in research or location based games, where the cost of equipment can be offset institutionally or distributed over a pool of players that pay each time they play. Using two ocular monitors (one for each eye), VR goggles can provide slightly different images to each eye, simulating the depth perception people experience in daily life. Such goggle setups can also be used in conjunction with head tracking hardware to provide players a view of a virtual landscape which they can move by turning their heads. '''Weak example''' Virtual boy With it's Virtual Boy, Nintendo attempted to bring three-dimensional visuals to the mass market. The Virtual boy provided a different picture to players' left and right eyes in order to create a three dimensional visual environment. ---- ====Parent==== *[[Visual Display Hardware]] ---- ====Children==== None 286fcf658a5245a47f97e7eea96098eaed35ab09 0 57 57 2008-12-18T20:47:30Z Jp 0 2 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Entire genres of games are devoted to piloting vehicles in combat, racing, or other situations. Rather than listing every type of vehicular instrument individually, we're grouping them together as an abstract category here. Examples of vehicular instruments include speedometers, tachometers, artificial horizons, altimeters, airspeed indicators and the like. '''Strong example''' Gran Tourismo 3: A-spec [Yamauchi, 1997] overlays a speedometer over the lower right corner of the game's main view. It also provides gear, shift, and emergency indicators within the instrument cluster in that corner. ---- ====Part-Of==== *[[Head Up Display]] ---- ====References==== Yamauchi, K. (2001). Gran Tourismo 3: A-spec. SCEA. playstation 2 edition. 40e368b1b25cc7b2d223e918be635a37c4a9b64a 0 58 58 2008-12-18T20:47:30Z Jp 0 6 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] While they use different technologies to perform their work, cathode-ray tube and liquid crystal display based video monitors share a common use in presenting game information to players. The video monitor displays the game's visual representation of the game world, its entities, and the game's head up display. Most contemporary video games use a video monitor to deliver a significant amount of a game's information to players. CRT monitors can used multiple rendering styles to convey information to players, specifically, vector-based display or more traditional color pixel rendering. While these rendering methods differ in technique and feel, they are both used in essentially the same way to transmit information to users. ---- ====Parent==== *[[Visual Display Hardware]] ---- ====Children==== None de8a6af9371963f16142f1ada7b4ad0a2a906aaf 0 59 59 2009-05-21T16:40:30Z Jp 0 Reverted edits by [[Special:Contributions/SitgeTricd|SitgeTricd]] ([[User talk:SitgeTricd|Talk]]); changed back to last version by [[User:Jp|Jp]] wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Visual display hardware provides visual information to players. This includes such devices as televisions, VR goggles, and holographic displays. Any hardware used to convey visual information to players falls in this category. ---- ====Parent==== *[[Presentation Hardware]] ---- ====Children==== *[[Video Monitor]] *[[VR Goggles]] 63fcf03ddff9e791ff0680538faead2c0467f0cb 0 60 60 2008-12-18T20:47:30Z Jp 0 2 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Most electronic games currently use visual output as the primary means of transmitting game information to the user. The form taken by visual output can vary, but typically comes through a CRT or LCD monitor screen. Games past and present have played with using multiple screens, holographic displays, illuminating input devices and other forms of visual output. Most games present the player with some sort of view of the games world and the entities within that world. Many games also provide some kind of head-up display to convey information that is important to the user but would not be apparent simply from the players view of the game world, like a radar screen, health display, or the like. ---- ====Parent==== *[[Sensory Output]] ---- ====Children==== *[[Camera-based World View]] *[[Head Up Display]] ---- ====References==== f504e93deed089a504cc12c9692fc07ede6a4af0 0 61 61 2008-12-18T20:47:31Z Jp 0 5 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Interface]] Warning feedback alerts players to impending danger. The kind of danger the game warns players about is determined by the game designers, and can vary game to game. Some games focus their warnings on circumstances that will cause the player to die or take damage. Some games warn players that other game entities are searching for them. Other warnings include notification that time to complete a required task is almost expired. Whatever the warning alerts the player to, it can be represented through the game's visual, aural or tactile output channels, and many warnings come over multiple channels at once. ====Strong example==== Falcon 4.0 [Blankenship and Gilman, 1998] provides audible and visual alerts when another fighter plane has locked missiles on the player's fighter plane. An alarm siren sounds and red lights flash within the representation of the fighter cockpit to warn the player that he will have to dodge incoming missiles. ====Strong example==== Final Fantasy X [Nakazato et al., 2001] warns players when their characters are close to death by causing characters' on screen representations to slump as if at the point of collapse. This visual cue is supplemented by changing the color of a critically damaged character's hit point display yellow, rather than the normal white color. These visual cues inform players when their characters need to be healed or they will likely die in combat. ====Strong example==== In Doom, the player is warned of nearby enemies audibly by hearing the idle noises they make. ====Weak example==== In Doom, the player is warned of dangerous condition by the appearance of the avatar's face in the HUD; while the player has an amount of health clearly displayed, the face of the main character visibly because more bruised and bloodied as the health becomes closer to zero, giving a non-numerical indication of health. This is particularly important when the player is very close to death. This is a weak example because while the use of the face in the interface serves to warn to player of his health status, the warning is most important and effective when the player is heavily wounded. In this sense it is a sort of indirect warning. ---- ====Parent==== *[[Feedback]] ---- ====Children==== None ---- ====References==== Blankenship, S. and Gilman, L. (1998). Falcon 4.0. Hasbro Interactive, windows edition. Nakazato, T., Yoriyama, M., and Tsuchida, T. (2001). Final Fantasy X. Square Electronic Arts L.L.C., playstation 2 edition. a05fad92a2ffdf34f7bdbd0a85df0f8c20efc07d 0 62 62 2008-12-18T20:47:31Z Jp 0 22 revision(s) wikitext text/x-wiki [[Category:Ontology]][[Category:Rules]] ==Definition== ;A group of, usually similar, enemy entities that must be avoided or completely destroyed as they approach the player. Each group of enemy entities, separated by some pause, is considered a wave.: A wave is a particular form of [[Challenge Segmentation|challenge segmentation]], generally observed in games that require quick reflexes and good hand-eye coordination. One of the defining aspects of the wave is that the player’s inaction will result in the premature end of the game (game over). Segmentation with waves is primarily used to increase the tension of the gameplay. Classic examples of segmentation using waves include Space Invaders and Missile Command. The former was described by S. Iwata as a game where “A little neglect may breed great tension” (Kent) while in the latter “you were only postponing the inevitable. This war was hell, and it was never long before you died in a blaze of glory.”(Sellers) Some questions that may help establish whether we have come across an instance of a wave, and in what degree if answered positively: *Does the player have to face a group of enemy entities? *Are these entities identifiable as being of the same type, e.g. they look exactly the same, or they behave identically? *Is there a pause between the appearance of one group of enemies and the next? ==Examples== ===Strong Examples=== ====Galaxian==== This game is a canonical example of wave. In Galaxian the player has to face a set of spaceships that appear in formation on the upper half of the screen. Occasionally they will fly out of the formation to attack the player’s spaceship. Once one set of enemies has been cleared, a new one will appear filling the top half of the screen. ====[[Typing of the Dead]]'' [[Category:Typing of the Dead]]==== This game typically takes the player “on rails” through the gameworld. The player has to kill off the hordes of zombies one at a time. The player has to type the word/phrase/sentence displayed on the screen before the zombi attacks her (i.e. there is a time limit to write the world). If the player fails to write the text correctly and on time, the life points will be diminished until the game is over. ====Gears of War==== The levels progress but each area you enter has a stop to it where you are attacked by waves of enemies popping out of the ground, running toward you or you are charging them. They come in groups and you must fight off the wave to progress forward in the game. ====Grand Theft Auto: San Andreas==== One of the key challenges of this game is the "Gang War" challenge in which the player must instigate a turf battle in order to take over territory in the fictional, Los Angeles-inspired city of Los Santos. In each battle, the player must defeat three (3) waves of enemy gang members, identified by the gang colors they wear, to win more territory. After each wave, a message appears onscreen to tell the player which wave has been defeated, and a few seconds pass before the next wave appears, usually better armed than the first. ====Total Carnage==== One or more players must battle their way through an area by killing literally hundreds of enemies coming at them in waves every few seconds. In order to reach the end of an area, players must either evade or destroy each wave of enemies. ===Weak Examples=== ====Golden Axe==== As a canonical Beat ‘em up, enemies appear in groups, which the player(s) will have to beat in order to advance and face the next wave. However, the sense of wave is weakened because the player(s) can opt to stay and not move to the next segment—the urgency to react or else you die that is inherent in wave challenges is missing. This urgency is rehearsed by a flashing signs, prompting the player “Go! →” to the next segment. Therefore Golden Axe (and all Beat ’em ups following this model, e.g. Double Dragon, River City Ransom) present weak examples of waves. ====Kingdom Hearts 2==== As the player explores a field that is infested with enemies, the enemies will appear in small groups as the player moves the avatar (Sora) into the range of an area where a group of enemies is programmed to appear. Since the player has the freedom to stay in one place if they choose, and not have to constantly move to avoid enemies, this takes the urgency of evasion down substantially and the player doesn't have the sense of needing to "keep on their toes". ====Starcraft==== Players, computer or human, usually create groups of units to attack the other player’s base. To the defending player it is like a wave: It is a group of enemy entities, they often contain many of the same units, and there is a pause in between attacks were the other player needs to create new units to attack with. ===Battlefield:2142=== When a player is killed in battlefield they rejoin the battle at a spawn point selected for by the player. The respawn timer is continuous with people respawning as the repeating 15 second timer reaches 0. As a result in multi-player matches many killed players will select the most advantageous spawn point, appearing simultaneously and often converging on the same or similar point (the direction of the nearest enemy force). This example therefore satisfies a number of the requirements for being a wave when viewed from the perspective of a player on the opposing team: *The player will have to face a group of enemy entities – Players on the opposing team respawning within a relatively close distance to one another *There is a pause between one group of enemies and the next – The respawn timer creates time between player entities appearing *The enemies are identifiable as being of the same type – The enemies appear similar to the player, though they are not identical due to the variation in the weapon they carry. In some situations with the opposition all choosing the same kit (this is possible although exceptionally rare) this criteria would be satisfied. ==Relations with other elements of the Ontology== ===Parent=== *[[Challenge Segmentation]] ==References== ''Galaxian''. Namco (1979) Midway: Arcade ''Typing of the Dead''. Smilebit (2000) Sega: Dreamcast Kent, Steven L. ''The Ultimate History of Videogames''. Roseville, California: Prima Publishing, 2001. Sellers, John. ''Arcade Fever: The Fan's Guide to the Golden Age of Videogames''. London: Running Press, 2001. 80c7069588d6ddbf819e647f560d80f54a56f58d 0 63 63 2009-08-19T22:09:46Z Jp 0 wikitext text/x-wiki {{outofdate}} [[Category:Ontology]][[Category:Rules]] Unlike its name would imply, a world is not necessarily related to a large planetary object. In the case of games, we use world to refer to a subset of the Gameworld in which there is a thematic unity as well an that a specific subset of the game mechanics used throughout an entire game come into play. Usually, a world is a series of levels that are tied together in some way. This binding can be expressed notationally, spatially, artistically, thematically and by gameplay. While older games tend to favor the notion of world as a grouping of levels, newer games generally eschew this while still maintaining the concept of world. In this case, we refer to world as a large gameworld space where the player must complete a diverse number of objectives. Each world is different from another world in much the same way as was described previously (as in, thematically, gameplay, artistically, etc.) however the distinction is that there are no distinct levels within. This is an approach that has also been taken by more recent platformer-style games (such as Jak and Daxter) where the player is presented with a large seamless world even if there are notable areas where gameplay and theme are different. In fact, what helps determine if a game is using this concept or not is whether levels are grouped together and how distinctive or strong that grouping is. For example, many traditional console platformer games are structured as a series of worlds, each with a series of levels. Different worlds are distinguishable from each other thanks to distinct visual stylings as well as different gameplay considerations. In a typical Ice World, all the levels have ice and snow and surfaces are slippery making the player controlled character harder to control due to inertia in the movement. Enemies in this level are also suited to the frigid environment. It is also common for the last level in a world to be some sort of boss level. (see [[Boss Level]]) '''Strong Example''' In Kingdom Hearts (PS2) there is not only a depiction of interplanetary travel, but also a strong thematic element tied to each of the worlds. Each world is inspired by different Disney movies such as Tarzan, The Little Mermaid and Alice in Wonderland. Different worlds introduce new game mechanics that are sometimes used only in the particular world in which they are introduced. For example, in Atlantica (the Little Mermaid inspired world), the player must learn how to swim in order to move Kingdom Hearts is a strong example of the use of worlds even though there is no grouping of levels because the spatial locations are so markedly different and have different gameplay implications. '''Weak Example''' In Half-Life, the player spends most of his time in one of two places: Black Mesa Research complex and Xen (another dimension). There are clear gameplay differences between Xen and Black Mesa Research in particular due to variations in the gravity. This greatly affects the way the player moves. Given that Xen is an alien dimension, everything looks different and unfamiliar. This is a weak example because despite the significant differences between worlds, the majority of the game takes place in Black Mesa research with Xen only being introduced at the end of the game. ---- ====Parent==== *[[Spatial Segmentation]] ---- ====Children==== None bee8d2363f9e07e8c608e4f58a0ead6017ad8332 6 212 255 2015-07-24T18:35:57Z Jzagal 2 wikitext text/x-wiki da39a3ee5e6b4b0d3255bfef95601890afd80709 6 208 246 2015-07-22T22:04:06Z Jzagal 2 wikitext text/x-wiki da39a3ee5e6b4b0d3255bfef95601890afd80709 6 213 279 256 2015-07-29T20:52:44Z Cfaadmin 1 Cfaadmin uploaded a new version of [[File:Out-of-date.png]] wikitext text/x-wiki da39a3ee5e6b4b0d3255bfef95601890afd80709 256 2015-07-24T18:36:26Z Jzagal 2 wikitext text/x-wiki da39a3ee5e6b4b0d3255bfef95601890afd80709 6 214 278 277 2015-07-29T20:51:43Z Cfaadmin 1 Cfaadmin uploaded a new version of [[File:Proposed.png]] wikitext text/x-wiki da39a3ee5e6b4b0d3255bfef95601890afd80709 277 258 2015-07-29T20:51:01Z Cfaadmin 1 Cfaadmin uploaded a new version of [[File:Proposed.png]] wikitext text/x-wiki da39a3ee5e6b4b0d3255bfef95601890afd80709 258 257 2015-07-24T18:37:47Z Jzagal 2 Jzagal uploaded a new version of [[File:Proposed.png]] wikitext text/x-wiki da39a3ee5e6b4b0d3255bfef95601890afd80709 257 2015-07-24T18:37:00Z Jzagal 2 wikitext text/x-wiki da39a3ee5e6b4b0d3255bfef95601890afd80709 8 204 229 228 2015-07-20T16:44:04Z Jzagal 2 wikitext text/x-wiki * navigation ** mainpage|mainpage-description ** recentchanges-url|recentchanges ** randompage-url|randompage ** helppage|help *ontology top level **Interface|Interface **Rules|Rules **Entity Manipulation|Entity Manipulation **Goals|Goals *work in progress **:Category:Proposal|Proposed Entries **:Category:Outofdate|Out of Date Entries * SEARCH * TOOLBOX * LANGUAGES 98252c45bcf71dda89db8fc4fceb7dbbf4af0fdc 228 227 2015-07-20T16:42:28Z Jzagal 2 wikitext text/x-wiki * navigation ** mainpage|mainpage-description ** recentchanges-url|recentchanges ** randompage-url|randompage ** helppage|help *ontology top level **Interface|Interface **Rules|Rules * SEARCH * TOOLBOX * LANGUAGES 972406fc90a66ef1039c2a4779688b1b1eee39ca 227 226 2015-07-20T16:41:45Z Jzagal 2 wikitext text/x-wiki * navigation ** mainpage|mainpage-description ** recentchanges-url|recentchanges ** randompage-url|randompage ** helppage|help *ontology top level **Interface **Rules * SEARCH * TOOLBOX * LANGUAGES 4629121baa326306aec3d0f6136350cadeb6d559 226 2015-07-20T16:41:11Z Jzagal 2 Created page with " * navigation ** mainpage|mainpage-description ** recentchanges-url|recentchanges ** randompage-url|randompage ** helppage|help *ontology top level **[[Interface]] * SEARCH..." wikitext text/x-wiki * navigation ** mainpage|mainpage-description ** recentchanges-url|recentchanges ** randompage-url|randompage ** helppage|help *ontology top level **[[Interface]] * SEARCH * TOOLBOX * LANGUAGES cbd496bded5d70a0b705ef7d59f22612cf06a389 10 196 196 2008-12-19T20:56:59Z Jp 0 wikitext text/x-wiki {| class="infobox" style="width: 20em; font-size: 95% border: 1px; float:right" |- style="text-align: center; font-size: smaller; border: 1px;" |style="font-size: smaller; border: 1px solid #aaa;"| [[Image:out-of-date.png|none|Draft]] |- style="font-size: larger; background: #cccccc;" !|Out of date. |- |style="font-size: smaller; border: 1px solid #aaa;"|It has been superseded by something that has been published elsewhere. |} [[Category:Outofdate]] <noinclude> This is a template used to indicate if a particular page is out of date. Pages are sometimes out of date when further, offline work has been done and no one has updated the page! </noinclude> 74ca80038930053c5261a4d6e79ffab8f4395467 10 193 193 2009-08-15T15:34:57Z Jp 0 wikitext text/x-wiki {| class="infobox" style="width: 20em; font-size: 95% border: 1px; float:right" |- style="text-align: center; font-size: smaller; border: 1px;" |style="font-size: smaller; border: 1px solid #aaa;"| [[Image:Proposed.png|none|Draft]] |- style="font-size: larger; background: #cccccc;" !|This is a proposed entry. |- |style="font-size: smaller; border: 1px solid #aaa;"|This entry is currently being proposed as a permanent part of the ontology. It should be considered a draft and not really part of the "official" ontology. |} [[Category:Proposal]] <noinclude> This is a template used to indicate if a particular page is a proposed new part of the ontology. This entry is currently being proposed as a permanent part of the ontology. It should be considered a draft and not really part of the "official" ontology. </noinclude> 90019aa041b771434e09f48c5163ec4a3ddccd91 14 200 211 2015-07-20T16:27:12Z Jzagal 2 Created page with "This page has a list of all the entries in the "Entity Manipulation" sub-hierarchy. If you are working on a page that should be here, don't forget to add the following to tha..." wikitext text/x-wiki This page has a list of all the entries in the "Entity Manipulation" sub-hierarchy. If you are working on a page that should be here, don't forget to add the following to that page: <nowiki>[[Category:Entity Manipulation]]</nowiki> That will ensure that the entry is part of the category "Entity Manipulation", and will thus appear here automatically. aa153105c7f31e23dfc2f7d3cdcbfc20a7df7170 14 201 212 2015-07-20T16:27:54Z Jzagal 2 Created page with "All the ontology entries of this page are part of the "Goals" sub-hierarchy. If you are working on a page that should be here, don't forget to add the following to that page:..." wikitext text/x-wiki All the ontology entries of this page are part of the "Goals" sub-hierarchy. If you are working on a page that should be here, don't forget to add the following to that page: <nowiki>[[Category:Goals]]</nowiki> 376175b39b6f37cc5c7926bf242a9bcc108b1103 14 198 207 2015-07-20T16:24:45Z Jzagal 2 Created page with "All the ontology entries of this page are part of the "Interface" sub-hierarchy. If you are working on a page that should be here, don't forget to add the following to that p..." wikitext text/x-wiki All the ontology entries of this page are part of the "Interface" sub-hierarchy. If you are working on a page that should be here, don't forget to add the following to that page: <nowiki>[[Category:Interface]]</nowiki> 2017d7e3788bc2cbc4206e17f751de362080c5d8 14 206 244 2015-07-21T00:37:53Z Jzagal 2 Created page with "This page has a list of all the entries in the Game Ontology. If you are working on a page that should be here, don't forget to add the following to that page: <nowiki>Cate..." wikitext text/x-wiki This page has a list of all the entries in the Game Ontology. If you are working on a page that should be here, don't forget to add the following to that page: <nowiki>[[Category:Ontology]]</nowiki> That will ensure that the entry is part of the category "Ontology", and will thus appear here automatically. 5b862d725a953296f349601fe117723e3d46ce9e 14 203 224 2015-07-20T16:36:09Z Jzagal 2 Created page with "The ontology entries listed here are considered out of date. This may be either because they have been superseded by some newer entry or because their text and description hav..." wikitext text/x-wiki The ontology entries listed here are considered out of date. This may be either because they have been superseded by some newer entry or because their text and description have been further developed elsewhere, and not updated here. 295d1a54a3bc0c3f0a71298a8e6d91c1232473a9 14 202 223 2015-07-20T16:34:56Z Jzagal 2 Created page with "This is a list of all the entries in the Game Ontology that are currently considered as "proposed". You should strongly consider them as "works in progress". They are a great..." wikitext text/x-wiki This is a list of all the entries in the Game Ontology that are currently considered as "proposed". You should strongly consider them as "works in progress". They are a great place to contribute ideas and you should definitely take a look at any discussion that may be occuring in the respective entries "discussion" pages. a0857b6c469f4f4f4d17e672f27619c57c093cfc 14 199 210 209 2015-07-20T16:26:39Z Jzagal 2 wikitext text/x-wiki All the ontology entries of this page are part of the "Rules" sub-hierarchy. If you are working on a page that should be here, don't forget to add the following to that page: <nowiki>[[Category:Rules]]</nowiki> 51ccf919fbd51635b7d844dba55ce748b80b1c7d 209 2015-07-20T16:26:29Z Jzagal 2 Created page with "All the ontology entries of this page are part of the "Rules" sub-hierarchy. If you are working on a page that should be here, don't forget to add the following to that page:..." wikitext text/x-wiki All the ontology entries of this page are part of the "Rules" sub-hierarchy. If you are working on a page that should be here, don't forget to add the following to that page: <nowiki>[[Category:Rules]]</nowiki> 4afaad5959978b781c5ae1e3a0df1da99737c91b